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
************
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.
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.
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!
The Girls From Little Shop of Horrors
One more little side trip before we get back to Musical Theatre Eras. 1950’s and early 1960’s pop are popular styles in niche musical theatre. Not only are several shows set during this time period, and written in this style, there are lots of revues that utilize these types of songs, as well as singing groups that often supplement a musical theatre actor’s career.
Sample Musicals/Revues Set in the 1950’s and 1960’s
- Grease
- Million Dollar Quartet
- Smokey Joe’s Cafe
- Bye Bye Birdie
- Forever Plaid
- Hairspray
- Caroline or Change
- Dreamgirls
- Little Shops of Horrors (Kinda sorta)
- Dirty Dancing
- Jersey Boys
- Cry Baby
- Leader of the Pack
If this style appeals to you, it would behoove you to have a song or two ready to go. You may want to find a song from an appropriate musical and then supplement this selection with actual pop from the era. For a woman who wants to be prepared for anything, I suggest having a pop 50’s jukebox style piece, and an early 60’s girl group number. For men, a 50’s doo wop piece may make more sense, with an early Beatles or even Monkees number to round things out.
50’s POP
I think it’s important to have a 50’s pop song in your B Book. Not only are there shows that take place during the fifties, there are shows like Million Dollar Quartet, and other revues both established and original that use 50’s pop and 50’s medleys. Dancers take particular note.
Major Artists
Elvis
Dinah Washington
The Big Bopper
Doo Wop Groups:
- The Dell Vikings
- Marcels
- The Platters
- Chords
- Frankie Lyman and the Teenagers
- The Penguins
- The Drifters
Dave Brubeck
Chuck Berry
Little Richard
Jerry Lee Lewis
Ricky Nelson
Connie Francis
Ray Charles
EARLY 60’s POP
Shows like Dreamgirls or Little Shop of Horrors speak to that very specific 60’s girl group sound that is a blast to sing. Men auditioning for shows like Jersey Boys could take a look at the Four Seasons, of course, but also early Beach Boys or even Beatles pieces. While you might want to bring in a big belty Showstopper for your first piece, you may want to sculpt your second piece around the sound of the era. Here are some suggestions you may want to consider.
Sample Girl Groups
The Supremes
The Shangri-Las
The Marvelettes
The Ronettes
The Chiffons
The Shirelles
Martha and the Vandellas
Sample Boy Groups
The Beatles
The Beach Boys
The Cowsills
The Monkees
The Temptations
Here is a great Beach Boys piece that is very audition friendly:
I also suggest Sam Cooke for men in this genre:
For Women, when auditioning with girl group numbers, make sure you choose a piece that either has a soloist or that features unison singing. If the sound of the piece is heavily reliant on big harmony, it will sound too small in an audition or worse, unrecognizeable. Here are The Shirelles singing Will You Still Love Me Tomorrow:
Here’s the cool thing about this piece. It’s girl group all the way. But who wrote it? Carol King. Maybe sing this version for a Little Shop audition, and then sing the following version for Mary Magdalene in Jesus Christ Superstar:
That’s the kind of thinking I want to encourage with 30 Days to a Better Book. These songs can REALLY work for you in many different ways if you get creative.
Other Sources
Nostalgic film soundtracks are perfectly curated examples of this era in music. Here are some you may want to listen to for potential audition material:
Soundtracks and Movie Compilations
American Graffiti
Goodfellas
The Big Chill
Dirty Dancing
1960’s Surfing Movies
Annette Funicello Movies
Elvis Movies/Musicals
Back to the Future
That Thing You Do
Sleepers
More recent artists like Elton John and Billy Joel have definitely been influenced by the music of the period. Songs like “Crocodile Rock” and “For the Longest Time” would work really well for these types of shows. Plus, as I’ve mentioned before, they are first and foremost piano artists, so their work translates well to the audition room (see below).
Arrangement: I’ve harped on this on a lot, but it’s worth mentioning again. Be careful about the accompaniment. Guitar heavy pieces (think Chuck Berry) may make for awkward accompaniment. Luckily, rhythm piano is out there and rhythm piano will be your friend and saving grace in this genre. Rhythm piano is a technique that is popular in 50’s and 60’s pop. It is percussive and can stand in as a guitar substitute. It’s also referred to as rock piano, Rockabilly piano, and Boogie Woogie. Jerry Lee Lewis and Little Richard are probably the most accomplished rhythm pianists that ever lived and this was their heyday:
Notice that the melody is not played in rhythm piano. This is a good thing. When it comes to rock, you don’t want to be constrained by a doubled melody in the accompaniment. You want freedom and the ability to improvise.
Here is “Grow For Me” from Little Shop of Horrors which is a great example of rhythm piano in Musical Theatre.
Here is “Let’s Get Together from The Parent Trap which would translate very well to the audition room if you needed something in this style. It’s rock. It’s upbeat. It’s 60’s candy pop and the piano sounds great and would work well without the guitar.
The 50’s and 60’s are lush musical landscapes. This post is merely a sampler. The pieces are very much B Book for most actors, but they are so unique in sound and aim that they are very nice to have on hand. If you get the call to audition for Jersey Boys or Hairspray, it makes sense to be prepared.
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.
Betcha never seen a tap number done on toe shoes before!
Most musical theatre performers will want to consider including a song or two from the era of 1918-1936 or so (post WW I – pre-WW II). So many shows are either from or set in this time period, these pieces often come in handy.
STYLE
If the turn of the century was primetime for the Big Ballad, then the 20’s and 30’s were the era of the Upbeat. Jazz came dancing into popular culture. Between Prohibition and The Great Depression, the country needed something to lift the collective spirit, so they turned to music and entertainment.
Musical theatre heavily influenced popular music in the 20’s and 30’s (well up into the 60’s actually), so a lot of times the popular songs of the day were also the musical theatre songs of the day.
Meanwhile, Vaudeville wasn’t dead yet. The variety show was alive and kicking, producing acts like Al Jolsen (see above), Fanny Bryce, and Bob Hope. Meanwhile, the publishers of Tin Pan Alley, while already established, were still kicking out hits like “Swanee” (arguably the most popular tune of the 20’s) “We Have No Bananas”, and “Ain’t She Sweet”. (I’ll talk more about Vaudeville and Tin Pan Alley in a later post.)
INSTRUMENTATION
This era moved from the somewhat military sounding brass marches to a lighter combination of jazz guitar, trumpet, big percussion, and folksier instruments such as banjo. Clarinets and saxophones were very popular, yet piano still held onto the ragtime feel of the previous era. Kander and Ebb’s Chicago reflects this instrumentation perfectly. See the piano in “All That Jazz.”
SAMPLE MAJOR COMPOSERS – See my post “The Big Guys” for more specifics on composers
Broadway
Jerome Kern
the Gershwin brothers
Irving Berlin
Cole Porter
Vincent Youmans
Richard Rodgers
Lorenz Hart
Schwartz & Dietz
Noel Coward
Popular
Louis Armstrong
Hoagy Carmicheal
Van & Schenk
Albert Von Tilzer
WC Handey
SAMPLE SHOWS FROM AND SET IN THE PERIOD
Source: Broadway World
Setting
Thoroughly Modern Millie
Gentlemen Prefer Blondes (the stage version)
Chicago
The Wild Party
Annie
The Drowsy Chaperone
Guys and Dolls
Circa
Showboat
Of Thee I Sing
Funny Face
Oh, Kay!
No, No, Nanette
Anything Goes
On Your Toes
Babes in Arms
Porgy and Bess
The Cradle Will Rock
Sunny
Dearest Enemy
Good News
SOURCES
Sweet Georgia Brown – even the Harlem Globetrotters get their theme song from the era!
Definitely check out the list of shows above. While hardly a complete list, these works are a great representation of the sound and style of 1918 – 1936.
Also take a look at the early musical movies like Broadway Melody of 1929. While this era is before the golden age of movie musicals, there are still very useful pieces to be found. Shirley Temple movies were popular during the Depression, as well as Astaire/Rogers vehicles like Swing Time.
I find that services like Pandora or Spotify can be helpful when seeking historical material. Singers like Ella Fitzgerald and Frank Sinatra often revived numbers from the 20’s and 30’s such as Irving Berlin’s “Blue Skies.” Try checking out channels and playlists of these iconic artists. You may be surprised to find out just how old some of their material is.
Here is a list of the most popular songs of the 1920’s.
And here is a list for the 1930’s.
Also, a lot of the jazz bands of the era performed songs as instrumental versions. However, that doesn’t mean there are no lyrics. If you find a melody you like, keep digging. More than likely, there are lyrics.
Also note that “speak sing” was in. Here is “It’s Only a Shanty in Old Shanty Town” from 1932. It has both an instrumental verse, and a speak-sing style. While Ted Lewis speaks the lyrics, they clearly fit into the melody.
CONSIDERATIONS
Content: Similar to the turn of the Century, the popular music of the day was often beyond insensitive to non-dominant cultures. The Jazz Singer is hailed for being the first film to combine picture and sound. But there’s no getting around the fact that the star, Al Jolsen, was famous for his Minstrel shows. There was an apologist sensibility in regards to the Confederate South, and popular music reflected it (“Swanee”, “Mamee”). While it’s important to not whitewash the more painful eras and trends of our past, be careful some of these hurtful works don’t make it into your book. Make sure you understand the lyrics, and the source of the piece. You wouldn’t want to accidentally say something you really, really don’t mean.
Also, songs were often written in clunky dialect. Check out an original rendition of “Can’t Help Lovin’ [Dat] Man” from Showboat. I’m sure you probably know this, but…you know…don’t do it that way.
Accompaniment: A lot of pieces from the era have very simple piano accompaniment, however beware jazz notation. Gershwin, for example, was an absolute genius and his jazz chording can be overwhelming from a sight-reading perspective. Be aware of this when choosing audition cuts. There’s no need to avoid these types of pieces, but know that the accompanist may simplify things for themselves so your piece may sound a little different in the room.
Articulation: The composers and lyricists of the era wrote in a style that equates to vocal and verbal gymnastics for the performer. Let’s take a look at the song “Anything Goes:”
Articulation, clear intention, understanding of where phrases and sentences begin and end are key. So are clear character choices and OPINION. These pieces are cute, clever, and often funny. But the words can’t do it on their own. You have to be there to be their clever vehicle.
Source: The Hooch Life
COCKTAIL
This cocktail is one of my favorites. Not only does it hail from the post-Prohibition era, it’s the classic slang of the time. The Bee’s Knees! Bathtub or non-bathtub gin. Up to you.
2 oz Gin
3/4 oz fresh lemon juice
3/4 oz honey simple syrup 1:1
Shake with ice. Strain into a cocktail glass. Garnish with a lemon twist.
Cheers!
Infamous Flops. Source: newyork.com
I want you to know I suffered for this post. I listened to a A LOT of shitty music. Via Galactica, anyone? Yeesh.
We’ve all heard the apocryphal tales: the shows that closed during previews, the dismal failures, the productions that never made it to the Great White Way… if you are a musical theatre producer, you may want to take heed. But as an actor? Pay no damn mind, girl (or boy). These trainwrecks can be GOLDMINES for auditioning. Think about it: two of the biggest Broadway flops were Merrily We Roll Along and Anyone Can Whistle: amazing, inherently audition-worthy songs in both pieces. Another great example is Schwartz’s The Baker’s Wife. The book has a lot of issues, but there is no denying Meadowlark is a bonafide showstopper. Even the super stinky numbers from a flop can be useful. The use of good ol’ irony can put a comic spin on an originally earnest piece. I give you Frankenstein: The Musical.
A Note on Obscurity: I don’t think it’s necessary to stress too much about whether or not a piece is “overdone.” Back before the musical theatre types really got kicking on the Internet (a time I actually remember God help me) “overdone” was more of an issue because we had less access to the lesser-known stuff. There was just less to choose from for your average Joe. Now, we’ve got the whole world at our fingertips and actors are absolutely taking advantage.
That said, I am often stunned at the lack of creativity in some actor’s books. Remember, the whole point is to show your weird self off. And honey, we are ALL weird in some way. Worry less about “overdone,” and worry more about personal authenticity. That simply can’t be replicated.
Flop mining can become a bit overwhelming. So I’ve provided a few examples that might get your gears turning. We’ve got The Bombs, The Buried, The Off-Broadway and The Offbeat. So put on your hard hats and be careful what you step in…
THE BOMBS
“Stop Time” from Big
“Hard to Be a Diva” from Starmites. (Love Lansbury’s descripton in this grainy clip). Belters? Go to 3:00 in for the number.
“It’s No Problem” from High Fidelity. Cute comedy piece.
“Words, Words, Words” from Witches of Eastwick
THE BURIED
Meet Blossom Dearie, one of my heroes, singing “Give Him the Ooh La La” from Dubarry Was a Lady
Audra McDonald sings “A Sleepin’ Bee” from House of Flowers
Here’s a piece from A Tree Grows in Brooklyn the Musical called “I’ll Buy You a Star”. Gotta tell ya, this would be such a sweet piece for the right guy.
THE OFF-BROADWAY
“If I Sing” from Closer Than Ever
“The Same Old Music” from Vanities
“The Role of a Lifetime” from Bare: A Pop Opera
THE OFFBEAT
Don’t forget the movies, y’all! Here are some numbers from Cult Classics:
The next time I hire somebody to transcribe for me, it might be this:
“Please, Mr. Jailer” from Cry Baby
“Infected” from Repo! The Genetic Opera
And of course, “Sweet Transvestite” from The Rocky Horror Picture Show
RESOURCES
Not Since Carrie: Forty Years of Broadway Musical Flops
New York City Center: Encores!
Here in Chicago, spend a rainy afternoon perusing the 8th floor of the Harold Washington Library. It’s packed with highlights and scores of forgotten musicals, cast recordings, and practice rooms. One of my favorite places in the whole city. Time just goes away there.
Youtube. You simply can’t beat it for instant access to these types of shows and numbers.
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Flops, the Forgotten, and the Fantastic are all wonderful ways to expand your knowledge of what’s out there, and really find something that shows off exactly who you are and all the wonderful talent you bring to the room. I hope this inspires you to get a little outside your comfort zone and dig around in the muck. After all, you can’t grow a garden without getting a little dirty.
Today, we continue our search for alternative sources of musical theatre audition material. In the future, I will talk about Pop/Rock in general, but today I want to pull a few select entertainers from the genre as examples of “Musical Theatre-Esque” work. And in fact, many of the people I am singling out today have indeed composed musical theatre pieces. There is an inherent theatricality to some or all of their work and it’s worth checking out when building your book.
Did someone say, “inherent theatricality?”
Sir Elton John
Baz Luhrmann knew what he was doing.
First and foremost I should say Elton John IS a musical composer, so there’s that. He wrote Aida, The Lion King, Billy Elliot, and the film The Road to El Dorado. But make no mistake, his work outside the musical theatre is absolutely worth digging into.
He’s prolific. Yahoo narrowed his work down to not 10, not 20, but Elton John’s Top ONE HUNDRED songs. I dare you not to find something. “Philadelphia Freedom” sounds like an act one opener. “Mona Lisas and Mad Hatters,” sounds like an Act Two ballad. Like most of the writers I mention today, he composes and performs his work on the piano making the transition to the audition room far easier than other piano-translated instrumention. (See my note on the pitfalls of guitar to piano notation in the post A Custom Tailored Vet.)
Billy Joel
Twyla Tharp made a shrewd decision when she decided to build her musical theatre piece, Movin’ Out around the characters from “Scenes From an Italian Restaurant.” The song itself is nearly a mini musical. It has plot, movements, and stakes. A lot of Billy Joel’s work has that perspective, aside from the pieces used in Movin’ Out. And, like Elton John, he is first and foremost a pianist, so the work automatically translates to the audition room quite well.
Songs like “Vienna,” “She’s Always a Woman to Me,” and “James” could easily find a home in the right actor’s audition book.
This list by Vulture is unintentionally but perfectly curated musical theatre audition material.
Carole King
Most people know Carol King for her earthy seventies masterpiece, Tapestry. Tapestry itself is great audition material. But her work extends far beyond this one album. King wrote hits for other performers such as “Some Kind of Wonderful”, “The Locomotion”, and my personal audition book workhorse, “Natural Woman.” She even wrote the score to the the television special musical, “Really Rosie.” Much of her work is honest, a bit raw, and has perspective that is very actor-friendly. Lots of direct address. Piano-based accompaniment. Three-dimensional.
And here’s the best part: She’s still working today. Check out her website for the latest.
Randy Newman
Randy Newman has written far more than just catchy cartoon movie themes. He has scored multiple films, and composed many pop hits. He is one of my personal favorite audition resources. His work is earthy, sometimes profound and dates back well into the 60’s.
Paul Williams
You may not be as familiar with the name Paul Williams, but I assure you you know his work:
- “Rainy Days and Mondays” and “We’ve Only Just Begun” – Performed by The Carpenters
- The score of movies like A Star is Born (1976)
- The theme to The Love Boat
or perhaps you’re familiar with this little ditty:
That’s right, Paul Williams scored The Muppet Movie, The Muppet Christmas Carol and Emmett Otter’s Jug Band Christmas. He also wrote one of my personal childhood favorites and absolutely a true musical: Bugsy Malone. Williams sound is very Americana, but what’s cool about it is that it shows up in so many different forms. The Muppet Movie is sort of folksy, while Bugsy Malone is that early jazzy twenties sound.
Check him out for something a little off the beaten path.
Burt Bacharach
Another bonafide musical theatre composer, Bacharach penned Promises, Promises and The Boy from Oz. He scored one of my all time favorite movies, Butch Cassidy and the Sundance Kid including “Raindrops Keep Fallin’ on My Head.” He also wrote half the songs used in My Best Friend’s Wedding. He wrote for everyone from Dionne Warwick to Johnny Mathis to Tom Jones to Neil Diamond.
The Care and Keeping of Singer/Songwriters
Don’t feel limited to the list of examples I provided above. Singer/Songwriters in general – as they are already “slashies” – like to stretch their wings. I give you Dunkan Shiek and Spring Awakening or Dennis DeYoung and his musical version of The Hunchback of Notre Dame.
Here are a few notes on preparing these types of pieces:
- Singer/Songwriter non-MT pieces can be “gendered” anyway you want. Don’t hesitate to change “he’s” to “she’s” or whatever perspective you want to sing from.
- Do yourself the favor of choosing a song that uses direct address as opposed to telling a story (I know, I know, “Scenes from an Italian Restaurant” is nearly the definition of story song. However, the strongest cut for audition purposes is direct address (starts at 1:43): “Things are okay with me these days. Got a good job. Got a good office. Got a new life. Got a new wife and the family is fine…”)Whereas “Piano Man”, while it is present tense, is a little harder to dig into as an actor from an acting perspective because it’s a story with no specific intended receiver.
- Make sure you add what is missing: given circumstances and high stakes. Who are you speaking to? What do you need from them? What happens if you don’t get it? Check out my section on How to Prepare a Showstopper for more prep advice. Life or death. It’s always life or death. Otherwise, why are we watching?
- The key to using the work of a singer/songwriter is to simplify. Eva Cassidy’s version of Sting’s “Fields of Gold” is a great example.
One voice. One guitar. (This song is also a good example of a guitar piece that would translate well to piano notation.” Nearly without exception (okay, maybe Carol King and Randy Newman) these guys are already flash glitter and sass. You can’t compete with that, particularly in an audition room where it will be as low tech as you can go. Ergo, make these pieces simple and honest. “Characterized by intensity of feeling or quality,” is, in fact, the definition of profound.
Source: Warner Bros.
Acting and auditioning can be so vulnerable and exposed that it is often comforting to rely on the tried and true with our material. It’s familiar. It’s good. There’s context. It feels safe and appropriate.
But sometimes it’s refreshing to go out on a limb and try something new. Really new.
NEW MUSICALS
You know how it feels like only big names get cast and the unknown actors don’t have a chance in hell? Well take that feeling and multiply it by 1,000. Now you know what it’s like to try to get a new musical produced.
But new musicals are out there. In droves. And they want to be heard. (And they aren’t all movie adaptations.)
Using pieces from original, up and coming, and/or unproduced composers is a great way to have a piece that is singular and special in your book. It also helps a fellow artist by performing their work in front of people that produce theatre.
How to access these pieces?
WORKSHOPS AND NEW MUSICAL PROGRAMS
Source: Broadway World
New theatrical work often goes through the workshop process wherein playwrights, lyricists, and composers get the chance to hear and see their work performed by actors, and have the freedom to edit, alter and rewrite based on what they are seeing. It is a wonderful thing to be one of those actors. No, workshops don’t usually pay much (if anything) but they provide connections and most of all, useable material, sometimes composed with you in mind!
In Chicago alone, we have big New Musical programs and projects as well as a long list of theatres that produce them.
Northwestern University hosts the American Music Theatre Project.
Light Opera Works hosts the Midwest New Musicals Workshop.
WEBSITES
Most composers have websites that allow you to listen to their work. Some even provide the ability to purchase sheet music. If they don’t, you can always contact them and ask if you can use a piece for auditioning or performing.
One major online resource for new work is: NEWMUSICTHEATRE
COLLABORATION
You can even try teaming up with an emerging writer or team of writers by putting together a joint cabaret or showcase, pitching a show to a theatre company, or self-producing. You could even commission a writer to compose a bespoke piece just for you.
Also, composers often have stand-alone pieces (much like I mentioned in You Need a Hero), that don’t have a home in any larger musical, but still deserve an audience. They may be willing to loan such a piece to you for auditioning purposes.
SELF-COMPOSED
Source: Hello Giggles
A trickier area, but let’s talk about it. Actors, like a lot of artists, usually have another art form or two up their sleeve. If you are also a composer, your own work is not completely off limits. Here are a few considerations:
- Self accompaniment – My rule (and you know how I feel about rules) is only when asked, whether in the posting or in the room. Otherwise, utilize the accompanist.
- Charts or Fake Books: Only provide an accompanist with complete sheet music. No basic notation or charts. If you can, make sure it’s not hand-written either. Even the nicest handwritten sheet music is difficult to read.
- Identifying the piece: Casting teams get a little twitchy and uncomfortable around self-written pieces. Partially, this is because they want to see how you handle material that is written by someone else because that is precisely what they are hiring you to do. Secondly, and I mean no offense, most self-written work that comes through the audition door is not very good. That doesn’t mean yours is bad. That just means by identifying your piece as your own, you’ve made your job more difficult by making the casting team immediately skeptical. While I don’t advocate lying to a casting team, you can be a bit coy if you need to. Rather than identifying the composer right off the bat, just say the name of the piece and the name of the show. If they like it, they’ll ask who the composer is. Tell the truth.
- Unless a posting or your agent or another source makes it clear that self-composed and/or accompanied work is acceptable or encouraged, don’t lead with this piece for a general audition and be very calculating about when you choose to bring it in. New work is one thing, self-composed is another. Remember, they are looking for an actor first. Not a writer.
- Hear the previous advice, but just know that it is merely advice, not a hard and fast set of rules.
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New Work is exciting and nearly demands attention because of it’s originality. If your book is looking appropriate but somewhat staid and traditional, check out all of these resources. Consider joining or auditioning for a workshop. You never know where it might lead.
Authentic Auditioning 