<p>At our BFA auditions, when people "choreograph" or dance in a vocal audition, it automatically equates to "novice" and/or baaaaaad training (which is VERY hard to break, BTW).</p>
<p>Movement should come from the character's NEEDS: need to communicate, need to release physical impulse, need to gesture to emphasize a point, etc. It is very much as if you were speaking - after all, the age-old adage about musical theatre is that "when one can no longer express the range of their emotions in words, they must sing..." (meaning, in order to sing, your character has to be at a heightened emotional state - one that words cannot capture sufficiently). The last part of that adage continues, "...and when song alone cannot capture your emotional life, you must dance." Hence, in order to be dancing, your character has to be at the TOP OF THE EMOTIONAL CHART (something that is risky in auditions, and that doesn't always translate out of context of the musical as a whole).</p>
<p>Stick to movement, gesture, simple crosses, sitting, standing, etc.</p>
<p>On the use of props, use CAREFULLY selected, easily carried (like a handkerchief, a crossword puzzle and pencil, a flower, a picture not in a frame, etc.), prop; and only then if it is vital/necessary prop to the piece. After all, we want to see YOU the actor/singer/dancer, not you the designer. But DON'T bring a gun (yes, believe it or not, auditioners have done this!!!), or any other prop/substitution that requires explanation (your acting should say it all). Likewise, don't do "phone" monologues - they are not immediate, compelling and requiring the (imagined) response of the (imagined) partner to whom you are singing.</p>
<p>The same note goes for clothing - DON'T dress the part; dress for an audition. Dress like you CARE about this audition and this business. We are all theatre folks behind the auditors' table, and have incredible imaginations - we'll go along with you on your flight of imagination, if you allow us to.</p>
<p>Best Wishes,</p>
<p>eve</p>