audition songs/ monologues

College Majors Musical Theater Major
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<p>Thank you, NYTheatreMom:</p>

<p>For the actors who are thinking, "Crud! Will I ever be able to play anything but this (limiting) type?," I want to encourage them with a: "Don't despair!" </p>

<p>Once you are IN a program or company, and your consistent work shows the breadth and depth of characterization ability and nuance, and your reliability, you will be given more "type" opportunities in casting...so if you are a Laurie who sings like Jud, you will probably start in the chorus, and end up getting roles like Sally Bowles in Cabaret, Bonnie in Anything Goes, and others... You won't be stuck "in the type box" forever. So take heart! Just get your foot in the door first...</p>

<p>Thanks, again, for this great thread!</p>

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<p>Thanks for the great post, Prof! I spend so much time convincing students and parents that typing is NOT a way of cruelly pigeonholing someone as a deliberate means of cutting off that performer's potential - that "categorizing" people in this way is truly how we ALL think IN LIFE, and that all acting is appearance-driven from an AUDIENCE perspective. And I completely, completely agree about the need for students to tirelessly research appropriate material for type (by reading a lot and listening to a lot of material) so that students become more aware of EXACTLY what suits them at a given time in their development as performers. Frankly, I've found that some college programs are not insightful or forward-thinking about how to prepare students for PROFESSIONAL auditions - that their faculties are mired in what worked ten or even twenty years ago but are not caught up with the current trends (for example, the fact that pop songs are so necessary in the NYC audition world b/c of shows like HAIRSPRAY, ALTAR BOYZ, ALL SHOOK UP, TARZAN, etc.). It always astounds me that I am asked to help upperclass BFA students or even grads to find audition material!!! However, I can tell from what you say that this will NOT be true at CSUF!</p>

<p>Thanks again,
CoachC</p>

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<p>Hi, Coach!</p>

<p>I wish I could say it were true at CSU Fullerton, but our students come in with average ignorance as to the material. However, their first "independent" assignment (meaning "no teacher help, please") to find a monologue or scene that is type appropriate freaks them out enough to start looking and reading more; then the successes spur them on further.</p>

<p>I've even thought of incorporating a graded "report a week" on any literature relevant to each course I teach (and I mean plays, librettos, CDs, text books, how-to books, magazine articles in prominent trade papers, etc.). They'd REALLY hate that - and my student evaluation grades would go in the toilet; but that's my job at times, to be unpopular.</p>

<p>:(</p>

<p>eve</p>

44

<p>My S's vocal coach who works as a musical director for 2 of T.C.'s Tony Award winning theatres said basically the same thing when my son went for his first audition. He also said to dress like the type (Not in a big way but in some small way.) - actually what he said was “they have NO imagination - they need all the help you can give them. </p>

<p>I make part of my living as an image consultant. I spent a lot of time in grad. school studying how an impression is formed the first 5 seconds. It is imperative that material and image should match.</p>

<p>Jenifer</p>

45

<p>Is it a bad idea to do a song sung by the opposite sex but that could work for a girl? I really love Make Them Hear You from Ragtime, but I'm not sure if it would work as an audition song. </p>

<p>And how many, total, is it a good idea to prepare, for both monologues and songs?</p>

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<p>This time last year, my daughter was in the same boat as you rising seniors and was reading at least one play or more per day in the search for the perfect audition monologue. She was fortunate to have access to an extensive script library as well as numerous professional actors, directors, and other theatre professionals who advised her during the search and presented her with new and different material. She too wanted that obscure one-of-a-kind piece that would set her apart from everyone else and make people sit up and take notice. Ultimately, she came up with four pieces to draw from at her various auditions including a very obscure comedic monologue that was perfect for her type and style, very funny, and just different enough, with a bit of an edge. At her very first college audition in January as she waited for her turn, she heard the girl auditioning immediately before her use the exact same (supposedly obscure) monologue. Needless to say, she was thrown for a loop and began to panic and wonder if she should change up her planned monologue for something she had done in the past. Ultimately she decided to go with the monologue she had planned, but left the audition already searching for something new to use the next time around and devastated. Ten days later she received an acceptance to the program, so she relaxed, chalked the incident up to a very weird coincidence, and decided she would never hear the piece again so to continue using it. Two auditions later, she met another girl using the same piece, cut slightly differently, but essentially the same piece. Again, my daughter ultimately was accepted to this program as well.</p>

<p>So the moral to my story (I hope) is that you can search and analyze and call in coaches and directors and read plays until you can't read anymore but there are just no guarantees that you won't run into someone using the same material. However, that doesn't mean that your audition story won't have a happy ending. What is most important is to truly love your material, know the context, the character, the background of the play well, and be well-rehearsed and well-educated on your pieces. If you identify with your piece and can perform it well, it isn't necessarily a disadvantage to perform the same piece as someone else. </p>

<p>So happy searching everyone and the best of luck to all. The perfect monologue and song are out there for everyone, but sometimes they are right under your nose!!</p>

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<p>Caromom, I'm glad you posted that story because I feel we have the same moral as yours. My daughter even now realizes that looking back on it she was too caught up on trying to find something more obscure and not just finding the best material as long as it was not overly common. She still got in, like yours. It is OK if they have heard it before or if some other kid does it. What you want to avoid is like the MOST common stuff that is used a LOT. And as I mentioned, one monologue my D used at most of her schools I have since scene on some long avoid list and so she still got accepted. So, I also advise to avoid the real commonly used material but not to knock yourself out about finding something obscure to the point of knocking out some great possibilities that you are good for, just for the sake of obscurity. It is not like you are being graded for which material you found but only for that the material is right for you (though again, I do agree that it might look better to not do the MOST common stuff which appears as someone not well versed with what's out there). My D's pre 1960 song I doubt was used by anyone else and so, yeah, she did get some comments about the song but I don't think this was that important. </p>

<p>Susan</p>

48

<p>Well said!
I am glad there has been so much discusion about material on the two threads running. It is a good reminder to the students of how very important their audition material is.</p>

<p>One thing that was touched upon is interesting to me.
First impressions are indeed very important and establish your type fairly quickly. I can attest to that since I was a casting director for 15 years! Actors like to think that they are versitile and can play a variety of roles, and that is often true. However, you will ALWAYS be cast in the roles that are most like you, most like the first impression you make. </p>

<p>I know that is frustrating for actors to accept, but it is true. You wouldn't be likely to see Gwynneth Paltrow perform a whacky comedic character role or Will Farrell cast in a romantic leading man role. Altough when you are a celebrity you do have more chance to show your range, odds are, that won't be you. Being cast against type rarely happens and you can count on being cast in roles that are closest to who you are. Directors have so many many wonderful actors to choose from who are dead on right for the part. They are not interested in thinking outside the box where casting is concerned! Unfortunate, but true.</p>

<p>When picking your audition material, you will do yourself the best service to find a role that is something you would actually be cast in. Try to think of it that way. And don't worry, they WILL still see your range, your potential. It is impossible to show your complete range in 4 minutes anyway, so don't attempt that. They are looking at "types" to complete their class, very much like a resident theatre company.</p>

<p>Sorry. Don't shoot the messenger</p>

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<p>Mary Anna...I agree...play to your strengths and your type when it comes to auditioning!</p>

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<p>Prof., CoachC, and Mary Anna,</p>

<p>May I relay a comment from my Ss? They said you three are "dead-on"...thanks so much for sharing with upcoming auditioning students, students in the thick of BFA programs, and parents (like me) who are learning as we go. With your expertise our CC MT thread has become very very rich!!</p>

<p>SUE aka 5pants</p>

51

<p>Hey, all:</p>

<p>Just a "thank you" for the validation. Sometimes I worry that I'm on a soap box, but it's nice to hear that my midnight sessions on this thread are helpful. Thank you!</p>

<p>Onto be<em>a</em>star's question about opposite sex.</p>

<p>I don't think it is a good idea, only because when I am sitting behind the auditor's table and see this occur, I think, "haven't they read the libretto, or even looked at the pictures on the CD jacket?!?" It's sad, but true. </p>

<p>That takes me out of the audition for just long enough to lose valuable time being "into" it. Some may have successes with this approach, but that may be more true of more obscure material: that which is either not done very often (like old Porter, Gershwin, Rodgers & Hart, etc.); or unpublished librettos that are not well-known by the auditors (like Sondheim's Evening Primrose).</p>

<p>On the Ragtime music, you bring up another interesting (and sensitive) question - one of ethnic-appropriate material. I believe the same rule applies here. A white student singing from all non-white musicals, such as "Once on this Island," "Dreamgirls," "Purlie," "Porgy and Bess," etc., gives me the same impression as above: "Don't they know this is an all-black musical?" Or Kim from "Miss Saigon," or Anita from "West Side Story." I believe there is a plethora of "traditionally" cast material that white students have to choose from; for actors of color, this is not the case. </p>

<p>I guess my point is, why choose a number that is inappropriate, in the area of type, age, ethnicity or gender, when with a little research you have so much more to choose from? Honestly, it makes me think the actor is lazy, or their ego is overblown because they feel these casting norms don't apply to their fabulous self. I know this sounds harsh, but I am being entirely candid here.</p>

<p>You may find other directors who have a different view; but you are as likely, if not more so, to run into traditionalists like me. And you will never know which variety you are auditioning for, so why take the chance? If you want to include the non-traditional choices, perhaps put those in your book so that when they want to hear additional material and are flipping through your book/looking at the index (I prefer the latter, BTW), THEY can choose it and ask you to sing it.</p>

<p>Thanks for asking,</p>

<p>eve</p>

52

<p>For a song, I would also pick one from your own gender. I mean the voice type alone is meant for either baritone, tenor, alto, mezzo, soprano, and so forth. It should be believable too. </p>

<p>I have to say, however, on monologues, that my child's serious monologue, as well as her classical one were actually written for males but she felt they were ok (her acting coach was in on this) as these two particular ones were rather unisex...any sex could have done it and been believable in those two plays/monologues. But otherwise, I'd go with your own gender material. Her comedic monologue was obviously written for a young woman. No boy could have remotely have done it. But with songs, I think it really must be your gender.</p>

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<p>So Prof. Himmelheber and any other professionals who'd care to post (Coach C, Doctorjohn, etc), I'm wondering what you would suggest for a non-white student (specifically Asian). Of course there are some Asian roles like Tuptim from King and I, or Kim from Miss Saigon, etc. but that is pretty limiting. My D has used songs such as Mr. Snow from Carousel or Many A New Day from Oklahoma because those songs fit her voice type and the characters are ones she could play. Would that be your suggestion? Of course she also sings Lord and Master and has used it for auditions. Would this be a good idea, since probably not a lot of white kids use it since it is definitely an Asian role, and since there are not a lot of Asian kids auditioning, then it wouldn't be overused. But on the other hand, doesn't that also show a lack of imagination/research? Also, for monologues, she has used one from Raisin in the Sun, for example, which is usually a black show, but she felt she could identify with the character because she is a minority, just not black. Was wondering what you all think? Thanks for your input!
I know we have discussed this a bit on an old thread about "type" in theater, but was wondering specifically about songs/monologues for audition purposes.</p>

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<p>NYDanceMom:</p>

<p>I think that your daughter is doing exactly the right thing! Finding the best choice of material for her type (both vocal and physical). </p>

<p>I believe that the choice of ethnic-specific material is very limited, and that the full gamut of Musical Theatre literature should be explored by students of color. Carrie Pipperidge, Ado Annie, Princess Winnifred, etc. are all open to any ethnicity; it's just not the same in reverse (Kim, Tuptim, Ti Moune, Effie, Porgy, Bess, Anita, Bernardo, etc. should not be sung by white kids). Sounds like reverse discrimination, but I must say again that I am being entirely candid here.</p>

<p>Maybe someday in the future, when Broadway produces enough ethnic musicals, and the numbers of ethnic performers evens out with the traditionally Caucasian-dominated artform, this won't be the case. But for now, (in my experience) it is still the case.</p>

<p>eve</p>

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<p>I have to disagree with your post about avoiding songs from non-white musicals. My d loves the song "Waiting for Life" and has used it on many auditions, pretty successfully. It shows a lot of range; high and low notes; ballad/upbeat; belty/soprano. It is REALLY HARD to find a song with this amount of range. It never crossed my mind that it is from a non-white musical; just that it is a good song for her voice type.</p>

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<p>With all due respect, I believe there are MANY age-appropriate songs that a student can find with the range, belt, etc., that "Waiting for Life" offers, if a student works hard to research and find them. "A Call from the Vatican," "I Can Cook, Too," "Always True to You" (revival version), "What Did I Have...," "Stop and See Me," and "Disneyland" all come readily to mind.</p>

<p>I'm just saying that, as a director/teacher who adjudicates over six department-wide auditions/juries each school year (involving over 300 students at each), and who coordinates the adjudication of the Kennedy Center/American College Theatre Festival Region VIII Irene Ryan Acting Scholarship auditions (showcasing over 400 student auditions each year), this color-blind view works in the way I have stated.</p>

<p>Too many times in the casting/decision sessions, I've heard, "Why?" rather than, "Wow!" Even if the "Why?" has an appendage of "Great voice, and well done," the student has not impressed them with their interpretive and technical skills well enough to erase that "Why?" And in this business, that time spent asking "Why?" is enough to knock the student out of the forefront...because there are simply too many students who are equally qualified/talented who don't leave room for the "Why?" to come up.</p>

<p>Thanks for listening,</p>

<p>eve</p>

57

<p>Eve,
I'm just offering an opinion here but clearly you are a professional in this field, let alone someone who adjudicates auditions. So, my opinion is not based on anything really substantial so take it as just that. </p>

<p>I agree with you about students of color or ethnicity using material written for white characters. I believe they should and be encouraged to do so. In a general sense, I also agree that in reverse, it is sometimes less appropriate for a white student to do material written for a character of color or non-Caucasian. For example, I know a white girl who auditioned for BFA programs this year who has an excellent voice who I think chose an inappropriate song, a particular one from Ragtime that is not only sung by an African American character (which is important to that story) but really not believable for her age. She was only admitted to one school out of many auditions (not saying this was the reason because who knows...but to me, that was a bad choice given what a great voice she has and how much appropriate material is out there for her voice, race, and age). </p>

<p>However, I disagree a little with one or two of your examples. One is Once on This Island and the role of Ti Moune and her songs. Ahrens and Flaherty wrote this musical and while it was written with West Indians vs. the aristocratic white society in the story line, they also have stipulated that this musical can also be done without the race factor but as between the social classes. I have now seen this musical many times. My own daughter (a white Jewish girl no less) has played both Little Ti Moune (in a college production where they did not cast at all by race) and also played Ti Moune in a youth production where everyone was white. I also had the privilege of seeing a youth production of this in the West Indies itself. I truly believe that a Caucasian girl could sing Ti Moune's songs because this play can be done revolving around social class, not race. When my D was first choosing songs for college auditions, she was seriously considering Waiting for Life to begin (RossJi....I'm smiling at your post) though did not choose it in the end. We did hear it at college auditions and she was glad she did not choose it as it was a little too common for her (she was really into not doing anything too common in a big way, lol). I also think the role of Anita in West Side Story or the role of Morales in Chorus Line could be played by a Caucasian if that person could appear believable as Hispanic. I would not put a blond ingenue in the role but I have seen enough youth prodcutions of WSS or even Chorus Line to think that an olive skinned girl with darker hair who can get the dialect down can pull off Anita or Morales. My own D played Anita and I would have no qualms about her using such songs for an audition. I would not have her use Morales' material only because it is overdone and not right for auditions. </p>

<p>But I think this is different than a Caucasian in a role that is very identified with being African American and where that is pertinent to the story. So a white boy would not be singing the role of Jim in Big River and a white girl would not be doing the songs sung by Sarah in Ragtime. So, I do agree with that but I also think the examples of Once on this Island or even Anita could be believable by a Causasian person, considering Once on This Island is often done in communities that are white as a play between the social classes. </p>

<p>In general, I do agree that a student should not risk too much by doing things so outside the box as to make the auditioners ask "why" or to take a chance like this. But sometimes I think they can stray a "little" bit. As mentioned, my D did some monologues written for a male that were really very unisex in nature where the gender was not pertinent to the story or monologue. I never thought she was taking a big risk because this is not the time to take a risk (LOL) but she did get in several places. </p>

<p>It is coincidental for me to read the songs you suggested because when I have suggested Always True To You in My Fashion to my D, SHE has said she thought the material would come across as too mature. I do not know the song, "Stop and See Me", what is that from? The song, Disneyland, seems used a lot from what we can tell but I could be wrong, of course. The song, I Can Cook Too coincidentally was the song that a girl was working on acting out in the class we observed at UMich :D. That is a good pre 1960 choice. The song, What Did I Have That I Don't Have is one my D also considered for auditions but nixed (though this time not cause it was that common but for not wanting her ballad to be belting cause her upbeat had a belt). Uh, it's always something :D.</p>

<p>I absolutely appreciate very much the contributions you are offering to the forum because you are someone IN THE KNOW. And I agree with what you have written and also have learned from it as well. I just have a different take on a couple examples but you know much better than I. My daughter's voice teacher has never discouraged the use of Waiting for Life to Begin, yet he does discourage the use of material that is not age appropriate. </p>

<p>Susan</p>

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<p>Eve:
Wonderful discussion!!!! Great info! </p>

<p>I know actual songs are rarely mentioned on this board because you are supposed to find the song that fits you, yada,yada. But having actual song names to listen to and then springboard off of to make your selection is just so nice. Thanks!!!</p>

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<p>ABlestMom, I agree. I think we should discuss songs sometimes and even though someone should pick the songs BEST suited to their type, range, style, forte, etc., it is helpful to read examples of songs that work for certain voice or character types. I surely understand that folks do not want to reveal what they will be singing for upcoming college auditions but it would be beneficial or fun to throw out some songs on here that are some good ideas to discover along the right lines as a guideline of appropriate material for various types. </p>

<p>For instance, someone could give a type of song or voice...like upbeat, belt, pre 1960....Whatever He Ain't from Mack and Mabel. I'd be happy to contribute some suggestions but can't do that right now due to dinner so that my kid can get to her call for her show!</p>

<p>Susan</p>

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<p>The Prof is right, right, right, folks.
I just applaud her for having the guts to state it the way it is.</p>

<p>I consider myself liberal minded and accepting of most ideas outside the norm, but even I do not like the idea of seeing an Asian perform anything from A Raisin In The Sun. That's a bit of a stretch for me. Sorry, even I have my limits. </p>

<p>Oh, the subjective nature of casting. Makes for a lively discussion!!!</p>