From Brad Blake
It’s been more than 30 years (yikes!) during which I’ve been an active participant in the audition process as a performer, as a director, as an instructor and as a student of theatre. I’ve experienced the ecstasy of watching well-instructed performers selling themselves time and time again… but I have too-often experienced the agony of watching talented people walk away without being cast because of poor auditioning skills and practices. Through my own observations and experiences, dialogues with other director/producers in every level of the trade, and researching countless books on the subject of “the perfect audition”, I have boiled it down to the 3 Ps of Auditioning: Preparation, Presentation and Personality.
PREPARATION
* CHOOSING THE SONG
o Don’t choose a song just because you’ve always wanted to sing it. The reason to select a song should be to show the Director and Musical Director what you can do.
o Pick a song that is in your range… both vocal range AND age range. Not everyone is a coloratura so if the song is out of your vocal range, don’t sing it! And, don’t be the 45 year old “wannabe” singing I am Sixteen Going on Seventeen.
o Keep it gender-appropriate. Men should not sing I Could Have Danced All Night and women should not sing Soliloquy.
o I always recommend avoiding signature songs for auditions. These are songs strongly identified with a specific performer. You may sing People very nicely, but I doubt you’ll be able to keep me from comparing you to Streisand. Likewise do not pigeon-hole yourself by choosing a song that conjures up a specific characterization, dialect or personality.
o Don’t choose a song that is so clever or unusual that the directors stop listening to you and pay more attention to the material. Who do you want to sell? Yourself or the composer?
o Choose a song in a similar style to the score of the show for which you are auditioning. If you’re auditioning for Tommy, you should avoid singing songs like Climb Every Mountain.
o Be wary of songs with a difficult accompaniment. Choose a song that won’t cause the pianist to struggle; this will give you the best chance of showcasing your best singing.
o Singing the big song from the latest Broadway show may be fun for you and you may think that you’ll appear very current when you sing it. Remember that numerous other performers may be thinking the same thing. I remember a time when there were two songs being sung in auditions by most men: Corner of the Sky and Being Alive. The joke among directors was, “I’m going to cast the very first person who does NOT sing one of those two songs!”
o Be prepared with back-up songs. The panel may want to hear something different or something more from you. If you’re going to be auditioning regularly, begin compiling a repertoire of solid audition songs so that you are armed with an arsenal of material to sell yourself with when the opportunity to sing again presents itself.
o And finally, the age-old question: Should I sing a song from the show I am auditioning for? This question has been tossed around since Merman was in diapers. The best advice that I can give you is that unless you are specifically asked to sing from the score, do not sing from that show. The director may have a very clear concept of what he wants for that role. If that vision is not what you present, you may significantly cut your chances of being cast in another role or show. However (and this is a very BIG however) the worst thing you can do at an audition for a show is to be unfamiliar with the score. After hearing your initial song, the panel may ask you to sing from the score. It is to your advantage to know the score well enough to sing along with the accompanist when given the chance.
* PREPARING YOUR MUSIC
o See that person sitting on that piano bench? He/she is your best friend for the time you are in the audition room. Do everything you can to make him/her comfortable with playing your song(s). Your music should be either taped together accordion style to eliminate page turns or secured neatly in a binder.
o Have your music clearly and succinctly marked for the pianist with your best eight measures and your best 16 measures. Most auditions consist of an eight measure effort – if the panel doesn’t stop you at the eight measure mark, continue on through your marked 16 measures. If they still don’t stop you, keep going!
o Make sure your music is IN THE KEY in which you wish to sing it. If it is not in the right key for your voice, find someone who can transpose it electronically and print it out for you or choose a different song. Handwritten transposition is a guaranteed way to make your audition very difficult for the accompanist, and remember that you want to treat them as your best friend on audition day.
o Memorize your song. No one wants to hear “I didn’t have time to learn this”, “I just found out about the auditions”, or any other excuse. If you care about the audition, know your lyrics and music.
o Set your tempo with the pianist BEFORE you start singing quickly so that your audition doesn’t hold up the day’s progress. If you neglect to set your tempo, do not attempt to set it while you are singing by snapping your fingers at the pianist, stomping your foot or making “speed up” circles with your hands. Once again, the accompanist = your best friend at the audition.
o Do NOT bring in:
+ “charts” (music that has the melody line and guitar chords but no piano accompaniment)
+ handwritten music
+ music that will not stand up or stay open
+ a sheet of lyrics that has no music on it and expect the pianist to be able to play an accompaniment
o Do NOT:
+ bring in a taped accompaniment (unless asked to)
+ bring your own accompanist (unless asked to)
+ ask to sing acapella
+ ask the pianist to transpose your song
+ sing from a lyric sheet because you didn’t memorize your song
+ ask to start over repeatedly. If you make a mistake… keep going
o Do - your research - find out whatever you can about the show(s) for which you are auditioning.
PRESENTATION
* PHYSICAL APPEARANCE
o An audition is a job interview. Whether or not you are getting paid, you are applying for a job and your clothes and grooming should reflect that. Show everyone in the room that you respect yourself enough to look your best and you respect them enough to polish your shoes and comb your hair!
+ Hair: Off the face and neat
+ Jewelry: Minimal is best. Remember which show you are auditioning for; while an earring on a male may be alright when he’s auditioning for KISMET or LA CAGE AUX FOLLES, it probably doesn’t project the right image for OKLAHOMA! or FIDDLER ON THE ROOF.
+ Women should wear skirts or dresses for musical theatre auditions.
+ Don’t over do the make up, as you’re not playing to the very last row quite yet.
+ Don’t dress in costume. A slight themed suggestion is acceptable, but don’t come wearing a ball gown or a suit of armor.
+ Avoid cologne or perfume.
+ Be prepared with something to dance in should you be asked to learn a dance combination, but don’t expect time or privacy for a complete change of wardrobe. Expect the possibility that you might go from singing to dancing without a break.
+ If you’re asked to come to a call-back, wear the same clothes and wear your hair the same way. The panel sees many performers during the process and cannot remember everyone’s name. Chances are good that they may remember you as “that girl in the purple dress” or “the guy with the polka dot shirt.”
* PERFORMING THE SONG
o Keep a comfortable distance. Some performers think it is cute and clever to sashay right up to the director while singing their audition. It is neither cute nor clever. It is an invasion of space and inhibits the directors from taking notes on your performance which will help them to remember you. Perhaps some performers feel that they will be remembered better for doing this. They will likely be remembered for all the wrong reasons.
o Do not choreograph your song. Dancing around while you sing will only make you look like Dainty June or a wind-up doll. If the panel would like to see you move, they will ask you to learn the dance combination.
o Eye contact: This is one of those topics on which every director has a different opinion. Having discussed this with my fellow directors, musical directors and producers, here is my general feeling: You should perform the song as you would perform it to a filled theatre… so do not ignore the people at the table by singing over their heads. Also don’t zero in on one person and make him/her feel uncomfortable. Play to the room just as you would play to an audience. This will show confidence without being pushy or frightening.
o Hands: keep them out of your pockets. Hand gestures should be kept to a minimum if used at all. I’ve seen too many good singers ruin their audition by swatting flies throughout their song. As a director, I want to focus in on your face… any extraneous hand or leg movement will pull my focus away from your face and distract me.
* PRESENTING YOURSELF
Don’t make excuses. Don't come into an audition situation and immediately start telling the staff all the horrible things that prevented you from being prepared or at your best today. It is self-defeating. For example, if you have a cold, don't apologize to the front table. If you're sick, they can tell that, and they won't hold it against you! They will be more sympathetic to you if you aren't complaining to them about how sick you are, and how you always sound so much better at home in the shower, etc, etc... They will take note of the brave individual who did their best under bad circumstances, not the person who had 15 excuses why he/she wasn't prepared. Also, you don't have to say your sorry each time you hit a wrong note, or stutter on a line. This is an audition. It's not expected to be perfect and the Director understands this.
The panel is on your side! They understand what a nerve racking experience auditioning can be because most of them have been through it themselves. The only time you have to say you’re sorry is if you kick the Choreographer in the shin during your dance audition, or if you knock over a tray of soft drinks on the production staff. Again, this advice goes back to confidence. You should try to present yourself as a confident, personable individual whom the staff would love to include in their show. As I noted above, ours is a community theatre. There is a significant social/interpersonal side to our work. Our directors want to cast positive, pleasant people as much as we want to cast talented people.
PERSONALITY
The audition question I have been asked more times than any other is: What’s the most important thing you look for in an audition? The answer: Attitude.
* Remember, the word "theatre" is only half of "community theatre." The community, or social part, is just as important as talent or skill. When a director casts you in a show, he/she is making you a significant part of their lives for an eight to ten week period. When you are in a musical, your fellow cast and crew members become your temporary family. And, unlike real life, the Director CAN choose his/her family. Doesn't it stand to reason that they will choose the people who are the most pleasant (in addition to the most talented) and will be the easiest to work with? Your audition doesn't begin when you start singing. It starts when you enter the audition room, or even when your name is called. Always be friendly and appear confident (acting comes in handy here!) and eager to be there. Many times, a less talented actor is cast simply because they are a joy to be around. And if you are in a dead heat with someone else for a part, the "nice guy" usually wins.
• Be nice to everybody. You never know who the person you are speaking to is and what role they can play in deciding your audition fate. At our theater in particular, most everyone you meet is a volunteer, and many of our volunteers are members of our board of directors.
* Remember to smile. If you are nervous, take a deep breath and try to relax. Recognize that you are not going to get every job you audition for, but that you can learn from every experience.
* When you are called in for your audition, be confident and smile. Avoid asking too many questions, as your audition probably has a tight time slot.
* Definitely do not ask if you will be called back. The casting director will let you know if they need to see you again; of that you can be sure.
Above all, remember: this is not a matter of life or death. Do your best and enjoy the journey!