Auditioning for Broadway
It is not enough to just be able to sing a song in order to
successfully compete in an audition. It is necessary to learn how to conduct
yourself at an audition if you expect to be considered. I set aside a special
lessons to discuss what to do and not to do at an audition, and what directors
want to hear and to see. We discuss appearance, photo/resumes, how to
communicate with the accompanist, etc. I recommend the appropriate songs to sing
at an audition depending on voice, physical appearance and age range. Each song
is then rehearsed and put on tape with the melody alone, then the accompaniment
as it appears on the music, without the melody. A proper 8, 16 or 32 bar cut is
also selected for each song. Up tempos, ballads, pop songs, musical material to
cover all time periods are considered, and we will also begin compiling your
"black book" for auditions.
Be realistic when deciding if you are ready to audition
Just like athletes who let their coaches advise them when
to compete, you must have faith and trust in your teachers, for they are your
outer ears and outer sight. You must learn your craft before you can compete
with the accomplished auditioner. Most of all, arrive at your audition well
prepared and with a
pleasant attitude.
The actor who may have to sing at an audition
The actor has the advantage of having an acting background
and understands the use of subtext in performing a monologue. The same
technique that you use in a monologue is used with the lyric of a song.
With some vocal training you can add this to what you have already learned in
your acting and are more likely to have a successful audition.
The dancer who now must sing at an audition
Many dancers who have never had any voice training are called upon
to sing at their auditions because many of the Broadway shows require both
singing and dancing. The dancer cannot afford years of study, but with
some vocal lessons, the proper song and the right key to sing the song in, a
dancer can compete very well, providing they also have the ability to sing in tune
and project.
Nerves and stage fright
My aim is to get students to realize their own potential. A
successful audition requires you to have control over your nerves which affect
your breathing when you sing. I use the Carl Stough method of breath
endurance, which will give you some coping skills to help quiet the nerves. I
also discuss the difference between healthy and unhealthy nerves and help you
achieve the necessary control.
Some students are natural singers and performers who find
it easy to sing in public, while there are those who sing very well but need
lots of coaxing to perform in front of others. Given the right kind of teacher
and a non-threatening atmosphere, these talented but less confident people learn
how to build their confidence, so that instead of being self conscious, they learn to appreciate their
own voice and go on to a successful audition.
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