audition songs/ monologues

College Majors Musical Theater Major
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<p>Be<em>a</em>star:</p>

<p>As always, I'm going to be candid in my response...at the risk of ticking off somebody.</p>

<p>I'm not suggesting you stop acting - I'm saying don't "vanity" act (that which is "feel good" as opposed to doing something for you). </p>

<p>I don't know what your choir entails, but if it means anything other than a regular class meeting (without outside rehearsals and with very little/no homework) then I suggest you weigh the benefits against the liabilities.</p>

<p>Just because something is related to musical theatre, it doesn't necessarily follow that it is a worthwhile activity at this point in your education. Reading plays and musicals to find appropriate audition material is also career-related, and probably more vital now that at any other point in your education prior to now (and perhaps even after).</p>

<p>You see, if you haven't time to research the material that will make you competitive with your peers - those who have been focusing and reading and coaching and selecting for a year or more - this will likely show in your audition. </p>

<p>Looking at another aspect of over-committing, you say marching band is over in November, but that leaves very little time to research, evaluate, compare and select material and then cut to time/bar limitations, learn/memorize it, and then work/coach it ENOUGH TO USE IN AN AUDITION of this importance. If it were the local dinner theatre or community theatre, last minute prep might work; but you are now a little fish in a big pond of barracudas, my friend. Time to sink or swim...</p>

<p>What do I mean by this last comment? Well, if you WERE accepted to one of the better schools, you would be expected to have knowledge of a substantial body of dramatic and musical theatre literature (and from what you've said in earlier posts, this may not be one of your strengths). You see, in college you will be expected to be extremely self-sufficient, and OFTEN very quick in completing assignments. Your very first assignments in acting and/or musical theatre are usually SELF-SELECTED material, chosen within perimeters given by the instructor (e.g., "find a contemporary scene, within your type, no longer than three minutes, and one that is active - not passive;" OR "find a musical theatre song that is a pre-1960s/classic ballad, with a legato line, spanning more than one octave, including one key change, sung by a character within your realistic type constraints, and bring it to the the next class [in two days] for my approval. IF it is approved, you will have another four days to memorize and develop it fully enought to be able to work it in front of the class [next week]. If it is not approved, you will be behind the rest of the class and your grade will be affected." In this situation, going to the anthologies or scene books will be of little help. Going to your friends will be of little help. And going to your professor - when clearly the assignment was to independently find material - won't make them take pity on you and help you find material...they will simply lose respect for you and give you the grade you have earned on that portion of the assignment (and that WON'T be a "C" [average] or better).</p>

<p>This is such a vital time for you to really focus, and it would be a shame to not give the process 100% of your energy (both if you are accepted or not). If accepted, yet without the knowledge to support continued study, you're hosed. If not accepted, you can say, "Well, I guess I didn't do enough to prepare...," or "They just didn't like me;" but either way, you aren't studying what you love and would like to make a living doing. And with the odds being so phenomenally small that one will be accepted, why do anything but give it 100%?</p>

<p>This is what I would tell my son were he in your position (thank God, he's in engineering and not theatre!). I know it sounds very blunt, and that is because it is. I wouldn't be doing you any favors by not being candid with you, or stroking you by saying, "Have fun, it's your last year of high school." Too much is on the line a year from now that depends on your actions now.</p>

<p>eve</p>

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<p>I'd like to back Eve up here, so it doesn't seem like she is the "lone" voice who holds the opinion she expressed about REALLY focusing in on activities that will TRULY help develop you as an auditioner and MT actor - cause she ain't! :) Let me add another, related rationale in support of all that Eve has quite correctly said:</p>

<p>As someone who looks at/works with vocal health issues in MT singers (and who works as a vocal coach as well), I constantly see students who go into their college auditions singing less well than they could because they are physically fatigued from months of trying to do it all senior year. You CANNOT "make up" for this and "disguise it" in your body - and you need not FEEL fatigued in order for fatigue to be PRESENT and SHOWING, ya know? Before any of you students protest - keep in mind that I have been coaching for fifteen years and taught academics full-time at a high school (where I also headed the drama program and coached cheerleading) for seven of those years - so I KNOW how important activities are in the minds of high schoolers (in fact, I actually WENT to high school myself :) ) - and I also COMPLETELY know how WRONG most high schoolers are about the long-term significance of those activities. One of the most common truths in college applications for ANY field is that you do not have to be a 4-year participant in 60 different activities - colleges would much rather see you do fewer activities with a greater level of involvement and achievement. I'm sure many students who read ARE doing MANY activities to a very high level of commitment and achievement - but in the end, as you yourself "proved," be-a-star, what suffers is your knowledge of MT - b/c you "don't really have time to research tons of plays and songs" (as you said in a post yesterday). However, THAT is your JOB now, if you seriously want to pursue this!!! Somehow, many young actors have the idea that MT and acting (and sometimes even voice) are fields in which success is something you can either "do" or "not," and they don't consider learning ABOUT their fields an important part of their training - and it is JUST as significant to do that as it is to take lessons, be in shows, etc. </p>

<p>I like to compare students auditioning for top MT and acting schools as analogous to students who are in high school aspiring to attend a Division I school on a sports scholarship. Let's use basketball as an example - if I am a boy who wants to play basketball for Duke, I am going to spend EVERY waking moment that I possibly can eating, sleeping, and breathing basketball! I am going to make sure I am conditioning and practicing and not doing EVERY basketball thing that presents itself but only the ones that really will help me because they will expose me to the best teachers and peers. My eating, sleeping, and socializing choices would probably be largely dictated by my need to be "fresh" for scouts (my "auditions" for colleges) - and I would basically need to be "on" from the summer before my senior year, IF NOT EVEN EARLIER THAN THAT, until I signed with a school in the spring. And yes, I'd have to keep my grades up, because Duke is academically demanding - but in addition, I would CHOOSE to read everything I could get my hands on about basketball (probably sports bios and current magazine and newspaper articles) and watch a ton of basketball on TV, because that's just part of keeping up with learning strategies and moves. My LIFE would be basketball - and even with all of that added to a lot of talent, I stll might not get to play for Duke, cause it's one of the top schools in the country and they can get almost any recruit they want. But I would do EVERYTHING I could to be the MOST COMPLETE player I could in order to increase my short-term chances of getting into school and my long-term chances for a successful and extended NBA career.</p>

<p>I realize this isn't perfectly analogous to the situation of MT students - for one thing, all basketball recruits play in high school, right? They don't have the option of saying, "It's not worth it for me to play for my school because I won't learn from my high school team." But actually, they DO have that option and they take care of it by moving to a district or finding a private school that affords them the best basketball environment BECAUSE they must play in high school in order to be recruited/scouted by colleges (even if they also played at elite summer camps). I am NOT saying move until you find a district or school that does great high school musicals - I am instead saying young performers should know that often, school shows are NOT at all helping you advance as artists and in that case should not be considered "mandatory" for you to do simply because you are an actor. As I have said here before, you of course also have to struggle with WANTING to do the show if your friends are or if you feel like the school is "counting" on you - but in my experience, 75 % of high school theatre, choral, and band teachers are VERY strict about attendance and consider the integrity of THEIR products (concerts, field shows, plays) BEFORE they consider the well-being of individual kids who need to be REALLY prepared and FRESH for college auditions. And those teachers are (usually) not malicious or jerky - they just don't understand the demands of MT audition prep, because it is a THREE-FOLD prep process to prepare, invoving voice, dance, AND acting, and two of those (voice and acting) involve a LOT of research.</p>

<p>For those of you who are thinking, "Wow, this is SO hardcore" and especially "It doesn't HAVE to be this intense" - yes, it IS hardcore - but your're right, it doesn't "have" to be so intense. Are there people who just "walk into" admission to big programs without being acquainted with song and monologue literature and without having prepared a lot? Yes, there are exceptions to EVERY rule in life - and in this case, most are guys who are longtime athletes who get into MT late in high school and are naturally talented and so marketable as "GUY guys" that a school will commit to "shaping" them. But eventually they too WILL have to work their butts off, or they will fall on their faces in school because they will encounter others of their type who ARE working their butts off - and professors who don't care WHY their prep isn't done 150% fully! Like Eve said:</p>

<p>"If it were the local dinner theatre or community theatre, last minute prep might work; but you are now a little fish in a big pond of barracudas, my friend. Time to sink or swim..."</p>

<p>And there are plenty of people who prepare somewhat, but not as fully as they could or should - and their college audition results tend to reflect that. Some learn this prep lesson only AFTER going through auditions - and many of them couldn't have known otherwise beforehand, because there was no way for them to "find out" how competitive the process really is. But truly, there is NO "excuse" for you wonderful students who are reading here (which DEFINITELY counts as research and prep, btw - so good for you!!!) to try to take "shortcuts" in your prep WHEN YOU ARE HEARING FROM STUDENTS and PARENTS OF STUDENTS WHO HAVE BEEN THERE how important prep is!!! We are NOT saying kill yourselves to find the "perfect" material - we ARE saying WORK YOUR BUTT off to find the BEST material YOU CAN - WITHOUT excuses!!! (If you don't believe me, reread posts from MaryAnna, Eve, theatermom, soozievt, me, etc. etc. etc.). And most of all, you are hearing from Eve, the HEAD OF A COLLEGE PROGRAM, how important developing a true professional audition prep work ethic is!!! Honestly, WHY would you argue??? SHE'S THE HEAD OF A COLLEGE PROGRAM!!!!!!!!!!!!!</p>

<p>Woo - got just a little psycho there :) - but obviously, I think it does a great disservice our art form and to students' own talents when those students discount the importance of learning about the field of MT ONCE THEY UNDERSTAND THAT SUCH IMPORTANCE EXISTS - and now all of you reading KNOW, because you have heard it time and again "from the horse's mouth." And truly, the more talented you are and the more success you've had in your hometowns, the harder it is to accept that you need to step it up SEVERAL notches to compete against all of the OTHER talented hometown stars who HAVE accepted that they need to do their prep and push themselves to grow beyond what has always gotten them by quite well before. Talent mixed with moderate prep is rarely enough to gain you admission to a top school, and it certainly not enough to keep you being successful at such a school, building a good rep, and getting work both during school and after you graduate.</p>

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<p>Eve, you're my hero! Ready to give input that may not at all be what the person WANTS to hear!</p>

<p>be<em>a</em>star - I think this goes back somewhat to the discussion of passion.... because, believe me, you will be competing against other auditioners who are so focused and passionate that they WILL be reading through several plays a week, searching for new monologues, and they WILL be seeking out new songs that are likely to make them noticed. (As soon as someone puts out a list of "rarely heard songs" - guess what? They're likely to start appearing all over the place!)</p>

<p>As for building your resume - I think at this point, your training (dance, voice, acting lessons) will gain you much more than another show on your resume, unless, as Eve stated, it is a spectacular opportunity - either due to the legitimacy of the producing group, or due to something in the specific character that would be a learning experience. You said you'd do shows "just to have fun", and while that is an excellent reason to do a show, it may not be what gets you to the point you would want to be for college, or professionally. I've seen young actors pick up some bad habits doing shows for groups that weren't run as well as they might be.</p>

<p>If you want to do shows to have fun - more power to you! If you want to pursue MT as a lifelong career possibility, it's a whole different mindset.</p>

<p>PS. Oops - got so excited over this one, that I responded at the end of P. 8, and didn't see there were 2 more posts already on P. 9!!</p>

<p>A big Amen to Eve AND CoachC on this one!</p>

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<p>Wow - what an interesting topic for discussion. I've been out of town for a day so just came back and read this last series of posts in one fell swoop and it raised some questions for me. I absolutely support the notion that many, many kids today are "over committed," "over-extended," "spread too thin," - call it whatever you like. I don't mean to sound like an old lady saying "remember the good ol' days," but I often wonder why we don't appreciate more, and by "we" I mean as a society, the necessity to just have some quiet time, some time to stop the merry-go-round and contemplate our navels..........We discussued this issue in a thread on the old MT forum but I think it bares repeating. If we are always "doing," when are we assessing the VALUE of what we are doing? I wonder (during my personal "assessing" time) what is the root cause of all this running around and I don't have any clear answers - it's too easy to blame it on the degree to which all of us, not just our kids, are overstimulated by ads, entertainment options, technoloogy, etc. It's more complicated than that. But I sure do wish we spent as much time encouraging our kids to THINK about the choices they make as we do urging them to make those choices and commit to them.</p>

<p>So, when I read Eve's post, encouraging be-a-star to drop "all" of her EC's that don't specifically relate to the furthering of her college application and career aspirations, a little bell went off in my head. Maybe I don't fully understand the nature of the CSUF MT program, but for me Eve, there is a disconnect between the advice you're giving be-a-star and the way your own program is structured. As I understand it, and please correct anything I have misunderstood, students enter CSUF with perhaps the IDEA that they'd like to do MT, but then have 2 years to explore and prepare to audition for the program. Do they not take any other courses outside of performing arts courses during those 2 years, just in case they don't "cut the mustard" and become one of the very small percentage of kids who audition and are accepted into MT? If they do take "other courses" do you view them as being "unfocused?" And if they don't take other courses, what do they do with their two years worth of arts classes when they are rejected for MT?</p>

<p>Here are my own thoughts on this. When we looked at programs for my D, both my husband and I, and especially our D, were most interested in those programs that provided real pre-professional MT training, but also valued and provided the opportunity for their students to take at least one unrelated course a semester - and not just as a hedge against the possibility of not being successful in MT - but because as one of my own favorite theater professors in college would say to us, when encouraging us to look outside the narrow confines of our discipline, "The world does not need any more DUMB actors." Studies in art, history, literature, comparative culture, etc, etc - all enrich the life of a performing artist, provide food for the mind and the soul. Neither my daughter nor I have ever considered the opportunity to broaden oneself to be luxury - it is a NECESSITY! And yes, I know that there is a school of thought in some acting circles that a "thinkin' actor is a stinkin' actor." Sorry - I just don't buy it. So while I would encourage high school students reading this site to be thoughtful about their choices, their level of committment to various EC's, I would not encourage them to give up everything else in their lives with the thought that it will make them "more attractive" candidates come audition/application time. Not that it might not be true for some programs - I'm sure that for those programs that are strictly conservatories, maybe that focus is a plus. I would just want kids to know that you don't have to be narrow in order to be successful. I look at the definition of the notion of "success" itself in a much broader context and in that context there is room for "other stuff." Students, if continuing to learn about other subjects and having a few selected alternative experiences is important to you, I believe that there are very high quality programs out there that are looking for you as hard as you are looking for them.</p>

<p>Different strokes for different folks, I guess........</p>

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<p>TheaterMom:</p>

<p>When recommending the dropping of ECs and focusing on audition preparation, I was referring specifically to students who haven't the time to "read a bunch of plays." My advice would be moot to those who are well-rounded, active, and HAVE been pursuing appropriate materials (for longer than the month or two that few students are allotting to selecting and preparing auditions). If the research process is too much to handle, something needs to go. I realize that some students are very successful in researching schools, finding material, preparing auditions AND "doing it all," and my suggestion would not apply to them. But for those who are struggling to find info on various schools and locate appropriate materials at this late date (some auditions start in December, right?), the advice stands.</p>

<p>In response to your questions about CSUF's program: "... there is a disconnect between the advice you're giving be-a-star and the way your own program is structured...students enter CSUF with perhaps the IDEA that they'd like to do MT, but then have 2 years to explore and prepare to audition for the program. Do they not take any other courses outside of performing arts courses during those 2 years, just in case they don't 'cut the mustard' and become one of the very small percentage of kids who audition and are accepted into MT? If they do take "other courses" do you view them as being "unfocused?" And if they don't take other courses, what do they do with their two years worth of arts classes when they are rejected for MT?" </p>

<p>We audition students at the end of their sophomore year, after they have completed a "core curriculum" that includes a variety of theatre AND general education courses (we are a degree program, not a conservatory). These two years give the students a chance to see if the program is right for them, to improve their skills, and to realize whether they are indeed at the competitive level to beat the 1-in-5 odds of admission to the BFA. </p>

<p>The core theatre curriculum involves two semesters each of voice & movement and acting; and one semester each of script analysis, make-up, intro to design/tech, music theory, sight singing, dialects; four semesters of stage crewing (one show each semester); and as many dance classes as the student can handle.</p>

<p>The general education course requirements are set by the university, in keeping with the liberal arts tradition requiring graduates to have sampled a variety of disciplines as part of their general education. [Our gen ed requirements are one of the highest unit loads in the NATION, by the way.] In order to maintain progress on the general education requirements (while still taking the required theatre core curriculum), the recommended G.E. sequence in the first two years is: one semester each of intro to the arts*, oral communications, critical thinking, English composition, math, physical science, and biology; and two semesters of world civilizations (pre- and post-16th Century). After accepted in the program, the students take one semester each of American History, Government, intro to Social Studies, intro to Humanities, advanced Social Sciences, and advanced Arts/Humanities. One course taken at the advanced level must also satisfy the "cultural diversity" requirement of the university. </p>

<ul>
<li>ONLY ONE GEN ED FROM THE MAJOR AREA OF STUDY will be accepted - "double dipping," as it is called. This means only ONE course offered by either Music, Theatre, or Dance may be used to satisfy gen ed requirements. In the BFA program, we require the Music Theory for Non-Majors to satisfy the "intro to the arts" gen ed requirement.</li>
</ul>

<p>If at the end of the sophomore year a student is not admitted to either performance degree program - the Musical Theatre BFA or the BA in Acting (soon to be a BFA in Acting) - then all their core theatre coursework (except for some of the numerous dance classes) will apply to other theatre majors, which include: directing, stage management, playwriting, design, tech, general theatre studies, or theatre education.</p>

<p>Hope this answers your questions.</p>

<p>eve</p>

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<p>Eve</p>

<p>Thanks for taking the time to provide the clarification about your program.</p>

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<p>Eve's worried me at first for a bit-</p>

<p>I'm a bit new to theatre, however, my knowledge on "contemporary" theatre is very solid. However, my knowledge on "old" literature is very limited. But I'm contacting people who are willing to sort of give me the run-down of Broadway. I mean, yes, I've heard of Gypsy, but I have no idea what it's about. I've heard of "Rose's Turn" but I've no idea what context it's in. So I have a lot of missing holes to fill, but I'm slowly working towards that.</p>

<p>The thing that rattled me about Eve's response to be<em>a</em>star is the sudden recommendation to drop everything that would hinder from finding material (later cleared up, however). I consider myself..erm..."ambi-brained". Very left brained and right brained, so I'm very musically inclined as well as academically inclined. So not everything I take will be related to theatre, because I hope to apply to good academic schools in addition to my MT choices. So I'm in a dilemma. I'm torn between the two subjects, and I know eventually, I'll have to decide between the two, whether it be pre- or post-college. But what worries me is that will my balance between theatre and academics work as an advantage? Or would it cripple my chances? I wouldn't want to seem pretentious in taking all the classes that I'm taking, but it's really just the way I've been my whole life. Since I was 5, I've just been juggling things around, and it works for me. In addition to school and theatre, I also have many plain instrumental things, and I don't plan on giving them up ANYTIME soon. Giving violin lessons are helping me pay for CAP21 tuition! But I'm just worried of coming on as spread-thin, or not able to commit to one thing. However, I'm sure things will become more..clear as time passes.</p>

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<p>Thanks for all the good advice! My son has been diligently reading plays every free waking moment, including breakfast! A script is with him every time I see him. We've spent a small fortune buying scripts and music this summer. I'm becoming a bit nervous that we are still searching and haven't nailed down the material with fall auditions right around the corner, but he is very focused and going about this process as diligently as he does his other activities and keeping up his high grades.</p>

<p>I was very proud of him this week when, before even talking to us, he turned down a large part offered to him in a show at a dinner theatre, which pays him well. He did not audition this time but has done 6 shows there in the past. He's been performing in professional theatres here for several years and has usually sacrificed many other things to be able to do shows. He knows that he has to do much audition preparation in addition to essays and applications, and he has 4 AP classes. The show would have been over before the bulk of his auditions begin, and he could have rearranged the first one, but I was very proud for his decision! It shows me how serious he is about the audition process.</p>

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<p>Jalexis!
I am delighted to respond to your question. I do have an opinion about that.</p>

<p>I think being an intellectual and an academic will only HELP you in this business.(of course having TALENT will be the most helpful!)<br>
Please, please don't think of dropping any of your left brain studies!!!</p>

<p>Case in point:
When I was at ACT, Harry Hamlin was a friend and schoolmate. He had graduated from Yale. You don't do that without being an academic.
When he got to L.A. there was already such a buzz about him. Not only was he straight and handsome, he was educated at the IVYs and extremely bright. Because of that, he got one of the best agents in L.A. and started working right away.
Also, Reese Witherspoon, Claire Danes, Jody Foster. Many successful actresses are also VERY well educated and many have gone to the Ivys. Victoria Clark went to The Hockaday School here in Dallas, a premiere all girls college prep school and then to Yale. The list goes on.
Infairness, there is also a list of successul performers who have little or no education. (and there are successes who have little or no talent!) In this business, ther are many ways to skin a cat.</p>

<p>My point is,
Excelling academically is an advantage and you need all advantages you can get!
This creditial put you apart from the rest and will make you stand out and there is always a buzz about actors who are really bright and well educated and also talented.
I have such strong feelings about the advantage this gives you that I had a student I recommended go to Brown over NYU. He didn't take my advice, btw. He wanted to live in New York above all else.</p>

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<p>Chiming in again - </p>

<p>Yes, it is incredibly important to be as well-EDUCATED as possible, as Mary Anna says. That does not necessarily translate into "well-rounded" as many high schoolers perceive that concept (i.e. doing as many activities as possible). Being truly well-read and a strong and articulate analytical thinker is key, and instrumental background is very important as well, ESPECIALLY for an MT. I know Mary Anna coaches many actors - those auditioning for non-MT programs - so I'd like to point out that MT and "straight" (non-musical) acting are different animals, especially at the college and young professional level. Look at any acting curriculum versus MT curriculum at a single school - CMU, for example, or UM - MT's simply don't have AS MUCH time to do humanities electives, etc., because they are training in THREE disciplines EXTENSIVELY rather (acting, voice/musicianship, dance). Yes, straight actors also take dance and singing voice (and more voice and speech than MT's at many schools), but MT's have more requirements in each of those disciplines. I point this out simply to say that it IS more challenging to be a well-rounded MT in today's market, because as a YOUNG performer, unless you are a REAL character actor type (think Dan Fogler from SPELLING BEE), you will be expected to be triple threat-ISH (if not a true triple threat) - so that you can do summer stock work, etc. So as aspiring MT's, each of you should prioritize FOR YOURSELVES which of your activities are most important to your development as a MUSICIAN, ACTOR, AND DANCER. If, like JAlexis, you are an amazing classical musician, KEEP IT UP! That WILL serve you in MANY ways, both personally and professionally. If you are a gymnast, KEEP IT UP - tumbling is a huge plus when hiring young chorus people AND you often get a rider in your contract for doing "specialty" work (= more pay!) And the list goes on...so become AWARE OF THE DEMANDS OF THE FIELD and then gauge which activties will really help you in the long-term and which you must give up IF YOU ARE HAVING TROUBLE balancing everything.</p>

<p>There is constant debate among acting teachers about the value of liberal arts versus conservatory education for the purpose of preparing the strongest actors. Many of the finest acting teachers feel that one must "LIVE" and BE EDUCATED in order to have something to "bring to the table" as an actor. This is why many conservatory schools encourage students to go abroad to study for a time, as it enhances their overall LIFE experiences. However, I frankly have heard much less professional buzz of the type Mary Anna describes about smart young MT's who come in with Ivy League educations, because there is innate skepticism about how developed these performers are as singers and dancers. I am simply relating the common NY/Broadway buzz after each Senior Showcase season - it is the distinctive "types" with very developed skill sets FOR THEIR TYPE (a particular vocal timbre within a versatile voice, an athletic dance style, etc.) who get notice and big jobs right away. I am NOT discounting the importance and value of an Ivy League education - I just know that realistically, MT students from great MT programs are USUALLY the ones who come into audition settings as YOUNG performers with the versatility necessary to be noticed as a YOUNG performer - which usually means an ensemble job where you can dance, belt, mix, sing legit, and convey a well-eveloped character. At the Moveable Arts workshop from which I just returned (detailed post on that coming VERY soon!), Dave Clemmons, one of Broadway's top (if not THE top) casting director, told the students, "You MUST be able to do it all now - girls, you HAVE to belt AND sing legit AND mix - because producers can't afford to hire a lot of people like they used to, so we want to people who can each do many things." Yes, there are those young performers who get a "breakout" role that is perfect for them (again, think Dan Fogler) - but you can't wait for that to happen - you have to ensure that you are as employable as possible, which means being as much of a triple threat as possible. AND you need to do that while ALSO educating the rest of your brain, either with classes, if your school/curriculum offers that flexibility and time, or on your own, by reading, seeing classic films, watching CNN and documentary films, going to concerts, and just generally being a sponge for knowledge. </p>

<p>I know this all can seem very daunting, so I want to boil it down: MT's must be as close to triple threats as possible compared to their peers in order to ensure the best college admissions and the best work potential. A professional MT performer at the top levels is EXPECTED to be smart, well-read, articulate, a great MUSICIAN as well as singer, and professional (having integrity and a positive, productive attitude). Sure, there are exceptions to each of these ideas at the top levels, but not as many as you might think - people who fit those criteria are the ones who work consistently in jobs both "big" and "small" - CONSISTENT work is the thing to which you should ALL aspire (cause that's what pays the bills)! How one "becomes" all of these things can vary - many ways to skin a cat, as Mary Anna says - so evaluate YOUR current strengths in light of all of this and create a long-term plan to build in the areas in which you are weaker. This will help inform your choice of college program, your activity/lesson focus as you get ready to audition, and perhaps even your long-term career goals.</p>

<ol>
<li>As Eve pointed out, this "hard-core" advice we both gave was designed for students who are not able to fully prepare for auditions b/c they feel too strapped for time. If a student can maintain her activities load AND prepare AND GET ENOUGH SLEEP (again, vocal health issues - you CANNOT disguise lack of sleep!!!), then that is IDEAL. But, as one parent expressed to me in a PM about this topic, many students are not at the level of maturity or endurance or focus to do so. (I view those as three related but different qualities - so saying you can't keep up an intense schedule full of juggling and still prepare well for auditions does NOT necessarily mean you are not yet mature.)</li>
</ol>

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<p>Just a quick question perhaps one of the professors can answer. Is it appropriate to attach a repertoire list and letter of recommendation even if they do not ask for it?</p>

<p>Thank you</p>

<p>Lexismom</p>

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<p>I wouldn't include anything they don't ask for (you could appear to be presumptious, pompous, or worse that you can't follow the rules).</p>

<p>It's enough to state "references available upon request" on your resume.</p>

<p>And the repertoire list can go in your book of music (containing all those songs, with 16 and 32 bar cuts clearly marked). If they want to hear anything more than your audition, you can offer them a selection.</p>

<p>eve</p>

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<p>Lexismom.....are you talking of what to send to the theater/music department or to the admissions office? </p>

<p>For the application to admissions, which often requires a guidance counselor report and two academic teachers, it is appropriate to include supplemental recommendations (no more than two of these) from those who know the student in a different capacity than an academic teacher and can speak to something else about them. I'm talking of any student now, not just BFA students but I do include them in here. For example, letters from coaches, directors, music teachers, mentors from internships, supervisors in a job, advisor for a club, etc. My kids BOTH did this. My older child had a supplemental rec from a coach who coached her in two sports for four years and from an architect with whom she interned (she was thinking of majoring in architecture). My younger, BFA child, included one from her private voice teacher and a director who had directed her in four shows (as well as taught her dance) over a seven year time period. However, in the latter child's case, she did not include these with the application if the theater/music DEPARTMENT asked for these. Several of the BFA programs/departments asked for their own essays and performing arts recommendations separately to the department or even to be brought to the audition in some cases, so these did not necesarrily go in with the application. The theater resume went to the audition but the activity/award resume went with the application. My D did not send a repetoire list to ANY school BUT UMich which requires it and it is extensive and specific as to what they want. Even her resume for that school's application differed based on their requirements...I recall it being a combo of both her theater resume and her activity resume in one. I would not send a repertoire list unless asked. I agree with Eve that a student should have some extra songs in their "book" at auditions. </p>

<p>Susan</p>

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<p>Thank you Eve and Susan for your input.</p>

<p>Lexismom</p>

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<p>Eve (or others), You are so knowledgeable about plays/characters, I was wondering if you could help. My son is trying , on short notice, to come up with a comedic monologue. In terms of character "types" the role of Sir Evelyn (Anything Goes) just fit him to a tee. I guess he's the "intellectual type." He hasn't asked for any help, but I was just wondering if you had a couple of thoughts as to which way to steer him. He's read a lot, but not necessarily young adult/ late adolescent comedy.</p>

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<p>I suggest looking at Neil Simon's young man material - "Brighton Beach Memoirs," "Biloxy Blues," and "Lost in Yonkers"; also an old chestnut called "Enter Laughing;" Young George in Thornton Wilder's "Our Town;" and Richard in Eugene O'Neill's "Ah, Wilderness."</p>

<p>Evelyn in Anything Goes really doesn't have any monologues, and that is an older character man typically... So hope this list might help you.</p>

<p>eve</p>

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<p>Thank you for those ideas, I'll pass them along.</p>

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<p>To all:</p>

<p>I have a similar request to jasmom's. My son needs to come up with and prepare a monologue for an "audition class" on October 1. We just learned about this, so time is very short. I read most of this thread yesterday and copied some posts for him as well as copying "do" and "do not do" lists from Depaul, CMU, and others that were suggested. I agree with all of you who have posted about doing searches, reading many plays and materials and going from there (he is reading 3 plays right now, but none with appropriate monologues - just for fun and broadening his knowledge base). </p>

<p>All that being said, and given the limited time available, do you have any suggestions (I hate to just look at the mass market monologue books)? He is 16 (looks a little older), a HS junior, and has performed as the Beast (Beauty & the Beast); Pippin (Pippin); Teen Angel (Grease); the Prince (Cinderella); Albert Peterson (Bye Bye Birdie); and is currently (and only recently) been cast as Master Ford in Merry Wives of Windsor. I hope this gives you some insight into his "type." </p>

<p>Thanks for any suggestions.</p>

<p>vocaldad</p>

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<p>My son did a monologue from The Grass is Green for some auditions.. Might work for your son</p>

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<p>hi everyone, i'm new to this whole thing..i just signed up but i already want to thank you all for all the advice that i have read so far on tips for auditioning. i am high school senior and i plan on majoring in musical theatre. i'm kinda getting a good feel for the kinds of songs i want to do but i'm totally stuck on a monologue. the kind of characters that i feel most comfortable playing are the ditzy ingenues or the sassy, slutty type.... are there any plays or monologues that anyone would recommend that would sort of fit these characteristics??</p>