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Lynn Starling
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Cabaret
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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.