<p>I'm not sure this really fits in this thread, but when exactly is the break off date for contemporary monologues vs. classical ones?</p>
<p>Generally 1900</p>
<p>If a school requires a classical monologue, I thought they meant Shakespeare and his contemporaries. Is it true that IF they do mean Shakespeare (and contemporaries) they would specify this? and if they don't specify this then they mean anything earlier than 1900?</p>
<p>thanks for clearing this up!</p>
<p>Carnegie Mellon is the only one my daughter has encountered that specifically asks for Shakespeare. Others specifically ask not for Shakespeare. The important thing is to read each school's requirements carefully and have backups.</p>
<p>carnegie mellon officially asks for classical....most people use shakespeare for that (i am! lol), but i know someone who did from Antigone and other classical plays like that</p>
<p>i believe michigan was one of the ones that said no classical material, but i could be mistaken</p>
<p>When looking for a classical monologue, I think the important thing to find out is if the school wants to see how you handle verse. </p>
<p>If that is the reason for requesting classical, then I would certainly go to Shakespeare first. Moliere also writes in rhyming couplets. Calderon writes in verse. </p>
<p>But remember, not all Shakespeare is in iambic pentameter, some is in prose.</p>
<p>If verse isn't the need, then any play written before 1900 will suffice; from Restoration Comedies to Greek Tragedies, some of the early great Russian playwrights, etc</p>
<p>xxx,Mary Anna</p>
<p>I know none of you know me personally, but I'm just asking for opinions. I have two songs picked, and I'm definately in LOVE with them. For contrasting/different traits, how do these rack up?</p>
<p>Easy to Love - Cole Porter (put back into Anything Goes)
A Wonderful Guy - South Pacific</p>
<p>Thank you for your opinions.</p>
<p>Also, I am wondering what good plays are out there, to start searching for monologues? Thank you again!</p>
<p>Easy to Love is better than "I'm in Love with a Wonderful Guy," because it is done less often.</p>
<p>eve</p>
<p>As far as good plays, the list is too long to go into here.</p>
<p>:)</p>
<p>But for starters, look at Theresa Rebeck's plays (she's a fabulous female playwright), and the plays of Neil LaBute (filled with young characters).</p>
<p>eve</p>
<p>Thank you for your input Prof, I will definately look into those plays, at least I'll have a start. :-) </p>
<p>So is "I'm in Love with a Wonderful Guy" one of those "no-no" songs, or is it on the low end of the list yet? Because I'm also thinking of the ending part of "I'm the Greatest Star" from Funny Girl. How does that rank?</p>
<p>"I'm in Love..." is classically done a lot (easier to sing, as it is not terribly rangey), and so may or may not be on anyone's no-no list. It is just risky to use because of the precedence.</p>
<p>"I'm the Greatest Star" is not the greatest material because of two things: done a lot, and it is a signature song for Barbra Streisand. A double-whammy!</p>
<p>:0</p>
<p>eve</p>
<p>Is it ok to use a song you've performed in a play?</p>
<p>Schools often recommend against that, and I think the reasoning is that if you have done the full show you are used to performing that piece "in context." An audition is a one-act play, a thing unto itself...so if you coach the song to be used for an audition rather than part of a larger whole production, I don't see why not.</p>
<p>eve</p>
<p>This an interesting thread.
As far as singing a song from a production you have been in. I am not sure what the arguement would be against this - but I do know it is terribly important to understand the content and the context from which a song is derived. It seems to me that doing a song from a show you have been in might be a great idea from that angle. Performing a song at any audition is not an exercise to simply hear the range, tone, color, etc of the auditioner's voice - if that were the case - it would be much easier to simply do scales or some vocal exercise. In musical theatre music is used the develop the plot or for character development - hence the way you deliver a song, complete with both text and subtext, is important. Your audition song is, essentially, an additional monologue - set to music. This is why I think it is very important to know and convey, in your delivery, what your audition song is about - and, again, it seems to me doing a song from a show you have been in would be an okay idea.
I have read here that it is a good idea to stay away from Sonheim and Jason Robert Brown songs - for the most part - I agree - it makes no sense to choose songs that are overly challenging - either rythmically or melodically - and both those composers tend to write somewhat challenging material.
So, what to choose. Sing something you are confident and comfortable with - sing a song that moves somewhere (both musically and emotionally) - know both the notes and the story. What not to sing - there are over-done songs - these tend to run in cycles - often the newer "hot" shows get over done. Here's the thing - I have said this over and over - call the person running the auditions - ask them if there are songs to stay away from. I bet you will get differing answers from different schools - the only way to know is to ask.
One more piece of advice - have your book with you - have at least a half dozen songs ready to go. This allows you two major advantages. One very often, if an audition panel is interested in you they may ask "do you have another uptempo/ballad" - it is very good to be able to cheerfully say "yes!".
The second reason to have a song book with you is that you may be able to tell that 3 other folks are singing one of the songs you had planned on - well, I can tell you, with no fear of contraditiction, the audition panel does NOT want to hear that song a fourth time - and now, because you are prepared, you will be able to serenade them with a song that is perhaps more fresh and interesting to their ears. By the way, make sure the songs in your book contrast somewhat to each other in terms of composer, tempo, era, style, etc. - I mention this because the reason you might be asked to do another song is often that your two initial pieces did not show enough contrast.</p>
<p>Monologues - again - CALL THE SCHOOL - ask if they want or do not want Shakespeare. On a personal note - I do not like hearing monologues that are overly sexual in nature - you should not have to "sell" yourself that way. I have heard too many monologues from young ladies that seem overly flirtatious to me; too many young men who sometimes seem to be declaring their sexual preference. I am not saying you must avoid sexual (or any content) - I am saying be careful in how you are coming across. Also, I sincerely belive that audition panels are not impressed by cursing, and, I'll add, be careful about an imprudent amounts of yelling - there are times when that is effective - but it is over-used - and often making an alternate choice can be even more powerful.</p>
<p>In any case these are just ideas - the most important thing is to be well prepared, and as cofident and comfortable with your materials as is possible.</p>
<p>One more thing about monlogues - there are monologues that are over done as well as songs. I would avoid the popular monlogue books - because everybody gets those books. Rather, find an interesting passage in a a play you've read. Some folks have suggested a few plays in this thread. ...and there is no lack of good material to be found. Again, we are talking preparation (and research). By the way - the same thing I said about the song selection "telling a story" and knowing the context applies to monologues - knowing the context and character (as you would come to know by reading the whole play - another reason to avoid monologue books) can and should effect your delivery of the monologue.</p>
<p>And something about song selection - avoid "signature songs" - those are songs that become very closely connected to a particular artist. For example, and I know I am showing my age, when I hear "The Impossible Dream" - I want to hear Richard Kiley singing - I know this is wrong - but you can't help it - so Unless you sing that song as well - or better (is that possible?) - it is better just to avoid it altogether.</p>
<p>mtdog, I don't know that he sang it better than Richard Kiley, but Brian Stokes Mitchell surely sang it as well. ;)</p>
<p>Yes, he certainly did! Wrapped in a compelling performance as well...but, and I admit it is a bias, I've already admitted to an unreasonable attachment to Richard Kiley's performance and production! I saw this when I was very young and it was an inspiration to me - and since, I have tried to (and often failed to) live up to the values set forth in the song/play.</p>
<p>try this link to the thread about monologue and song advice</p>
<p>xxx,Mary Anna</p>
<p>Hi,</p>
<p>I'm auditioning in February for musical theater and I wanted to know if anyone has an opinion on Tick Tick Boom...It's more than five years old, but I have a felling its pretty popular because of its author.</p>
<p>Also, does anyone know of any uptempo songs from before 1960 for a mid to low female voice?</p>
<p>If the song you're considering is Come to Your Senses, I would say that based on auditions NOT for college admissions, it is a pretty popular choice these days.</p>
<p>Off the top of my head - alto songs from pre-60 -- you could look at Meg's stuff in Brigadoon, Kiss Me Kate, Wonderful Town, Fiorello, Damn Yankees, Pajama Game, a lot of the old Gershwin repertoire....</p>