<p>frozenchosenak, did you son actually use 8 monologues during Unifieds? I have heard it recommended that kids have about four (in case they as asked "Do you have anything else?") but I have never heard of a kid having to have 8. If you can share more about this, I am sure we would all appreciate it.</p>
<p>Hi...I'm new.
I'm going to be a senior next year (wow, its weird to think about that) and I'm looking at colleges and trying to get ready for auditions. I had a few questions. I really liked soozievt's advice to BWAYBound a couple posts ago, but I just wanted to get my own questions out there.
I attend a very rigorous college-prep highschool, and I get good grades. I'm highly involved with Theatre, Music, and the performances my highschool and community does each year.
I'm pretty new to this, however. I started my formal voice-training at the beginning of my Junior year, but I had been singing informally before that for quite some time. I have been acting for even longer. I am strongest in the acting field. I haven't had much training in Dance (I will this year)-but I pick up on movement pretty quickly.
What I'm trying to say is, I'm not a complete newbie at musical theatre, but neither have I been formally trained in all of this since I was three.
My school is very art-oriented. Next year I will be taking a number of classes that will continue to help me prepare for college auditions, just like I did during my Junior year, and over the summer I am continuing my voice-training with individual lessons from a local teacher.
My voice instructor who coached me throughout my Junior year (and who will continue through Senior Year) and I were discussing colleges and auditions, and she advised me to audition at colleges with Theatre, and not Musical Theatre, and then if accepted to "Go in the backdoor" into a musical theatre major. She also said that she believes (and she knows me very well) that I have the ability to audition and succeed in the musical theatre auditions at colleges, but the issue is that I DON'T. This is true. (I have confidence issues).
My question(s) is- has this "Backdoor Approach" been done before? Has it worked? It's true that I am much more confident in the acting part of auditions, and I am stronger, but my vocals are not absolutely terrible either. They are just new. (Most of my peers in my highschool have been trained since early childhood).
So does this count me out for schools like OCU, Ithaca, Hartt, Pointpark, etc? Are they impossible for anyone who hasn't been trained for years on end? (I read back in this thread about others who have had the same worries, I don't want to repeat people, but this is just a part of the questions I had).
I'm not saying I want Tisch, or CCM, or the very very top MT college in the country. I do want into a good school, however.
Also, what about schools that don't necessarily have a MT major, but a "Theatre Performance" major? They do incorporate singing and "movement", but it doesn't look like it has as much voice and dance as MT, obviously. Does this mean I would not have a chance after college for careers in MT fields?
These questions might seem naive, but I had to ask.
Another question that is at high risk for sounding (I hate to use the word) "dumb", but are there any "safety" colleges for MT? And are non-audition colleges for MT terrible? I heard a girl once say that any non-audition MT college isn't worth salt. True?
My college-counselors suggest making a list of "safety", "in-reach", and "stretch" colleges- can that even apply to MT majors, due to the audition-factor?</p>
<p>Sorry this post was huge.
I'm looking forward to hearing any advice.</p>
<p>NotMamaRose,
I did ask my S about his 8 monologues and he actually used 9 pieces for auditions during this year but only 7 for UNIFIEDS. With the mix of contemporary and classical pieces which were either dramatic or comedic, it seemed to be an advantage. You'll never know if someone just before you decides to do the same monologue and you don't want to be caught without a backup. If you have two comedic contemporary pieces ready, you can choose. With possible callbacks, I'm guessing 4 monologues would be a minimum...</p>
<p>ComedyTragedy813,
I think your teacher has some good insight! Our S was told by a learned director that "it is more important to be an actor that sings than a singer that acts". That is why he has chosen to major in acting, eventhough he has done many more musical theatre productions for school and community performances (i.e. Tevye, "Fiddler on the Roof", Frog in "A Year with Frog and Toad", Scarecrow in "Wizard of Oz", Linus in "You're a Good Man, CB", Prof. Harold Hill in "Music Man", etc). He was advised to choose two stretches, two in-reach, and two safety colleges...many more would cost a fortune. He was fortunate to get into one of his two stretches, was waitlisted on the other and accepted to all the others...you never know, if you don't try! I encourage you to continue your research, keep reading this site and asking questions. There are many helpful ideas I have gleened...</p>
<p>Welcome to the board! If you haven't already, do take the time to read through the various threads that discuss these sorts of issues. There are also many people active here who will be glad to share their experiences and their accumulated knowledge and resources.</p>
<p>If, as you say, you have a confidence issue this would be something to really work on overcoming as you contemplate MT. As with any performing arts vocation, there are many rejections along the way; a strong sense of confidence and self-esteem is important to help buffer those times.</p>
<p>There are many schools out there and discussed actively on this board where the various components of a "triple-threat" carry a range of weight. Some put voice ahead of the others, some acting, some dance, some equal weight. You might consider some schools for MT and some for straight acting. There is the BA/BFA/BM option which must be considered.</p>
<p>While there are many that post here who have extended training since a young age, there are also many who discovered their love for this in Jr High or even later. One theme that recurs often is that there are many, many ways to achieve this dream. some require more effort than others, but they are possible.</p>
<p>DON'T automatically start by comparing yourself with your peers at school. They may or may not be auditioning like you but the only audition that counts for YOU is YOURS.</p>
<p>DO make an honest self-assessment, with the help of others who are qualified and know BOTH your strengths and your weaknesses.</p>
<p>Then begin to match that to schools and begin to work on the weaknesses while continuing to polish your strengths.</p>
<p>Good luck in the year ahead. There are lots of us who will be happy to encourage and support you as you go through what can be an emotional and grueling process.</p>
<p>Wow 7, 8 or nine monologues?! My daughter auditioned at 10 schools and had only 2 comedic monologues, 1 serious monologue and 2 classical pieces. All could be cut to accommodate the different time limits. I don't think she even used all those. She ended up doing great, had plenty and never ran into a problem not having enough material. Don't panic if you don't have that many...while it's awesome to have all those great pieces, you can do just fine without that many too! :)</p>
<p>I can't think of any conceivable situation where an applicant would NEED 7, 8, or 9 monologues. There just aren't the number of possible permutations or requirements which would necessitate that. Now, if the applicant has a desire to select that number, read and be familiar with that number of plays, and then prepare and be able to give an excellent performance of that number of monologues, then more power to him/her! But it isn't necessary, not by a long shot, so those of you who are just starting, please don't think that it is!</p>
<p>Check the requirements of the schools you're interested in, select appropriate monologues that fit those requirements paying close attention to the age appropriateness, read and become familiar with the plays, and then work hard at preparation. Having two dramatic, two comedic, and one classical, should be more than enough, and that's more than probably most kids auditioning will have! :)</p>
<p>I agree with the last few comments about number of monologues. My D and the kids with whom I work, go through all of their audition requirements and come up with a plan of what is needed and the minimum number of pieces to prepare that will satisfy all their requirements in total. Some monos (or songs) have various lengths to fit different schools' requirements too. The total number of monos needed depends on someone's list of schools/requirements. Giving my own D as one example, she applied to 8 schools. She had to prepare four monologues. Actually she only needed three total ones except she needed a certain period for one school and that meant a fourth monologue just for that one school, but otherwise her other three monologues fit into all her other school requirements (but she had various length versions depending on what was required). I can't imagine many applicants needing more than four. She never did more than two at any one particular school except at CMU during their "callback" phase where she was asked about additional monologues and while she had done the two required ones, she had two more due to having prepared two more for various other schools' requirements and so she did four monologues for them. While the total number to prepare depends on the sum of one's college list's requirements, it would be rare for someone to need more than four. In fact, without even seeing the requirements for someone's college list......off the top of my head.... a dramatic and comedic contemporary and a dramatic and comedic classical fits the bill for most requirements with a couple exceptions that may exist (certain periods that may be asked for, etc.).</p>
<p>When putting together my audition material, I made a chart that listed my final monologue choices. I had narrowed it down to about 8: 2 each for Contemporary Comedic, Contemporary Dramatic, Classical Comedic, and Classical Dramatic. Out of those 8 I happened to use the same 2 at every audition. These were the 2 with which I had explored and developed the most. I also kept about 2 or 3 others handy in case I was asked to present something else (which I was). The 'back-up' monologues were those which I had scored and memorized, and could easily pull out if needed. Having more then one extra option also gives the panel a choice of what they would like to see you perform. All in all, I would concentrate on 2 central contrasting monologues plus 2 or 3 back-up that can be swapped in or out, depending the specific school requirement.</p>
<p>Also - Colleges are absolutely NOT looking to only accept the students with the best resume or the most training. They are looking for versatile, teachable, enthusiastic STUDENTS ;-). Remember, this is not an audition for a job. You are going to school to be taught and molded into the best performer possible. It is very likely that those students who have been studying for years are unable to break out of the habits of their previous training. It is much better to be a mold-able ball of clay then a finished pot, unable to be anything...but a pot. (cue random analogy)</p>
<p>mtxsoprano, </p>
<pre><code> You bring up an interesting point, but I have spoken to some program directors that said that it would be VERY unlikely that a student with no training in voice or dance would be admitted to their programs. They expect you to be able to move and a good voice teacher can easily spot someone who has been straining their voice for years due to lack of training. I agree that directors are looking for coachable students, but a "seasoned" performer can certainly be coachable BECAUSE she has been well coached & respects the learning process. Divas, NO! Healthy voices and some strong dance training, yes.
</code></pre>
<p>I know of someone (maybe 7-8 years ago) accepted into one of the "Ivies" with not a single musical on her resume - however, she had a strong dance background, and some vocal training. I agree that they are looking for someone moldable - but I also agree that without any training, I think it would be extremely difficult to have a successful conclusion to the college audition system. Without any formal training or coaching at all, just finding audition material that suitably showcases your talents would be challenging.</p>
<p>I agree with the last two posters that although programs are looking for students who are teachable and have potential, that the chances of admission to such programs are greatly enhanced if the applicant has some training. I wouldn't expect a trumpet student to be admitted to a BM program with no training and same with musical theater. Schools are not looking for finished products (then why go to school?) but they are looking for talented students with potential. Training is going to help one succeed in this process. I don't think I know anyone in the BFA programs with no training or very little training prior to college. </p>
<p>While my own child had training and production experience prior to college, she'd be the first to tell you that now that she is IN a BFA program, she is learning so much and feels there is a lot more to keep learning. Having training prior to college doesn't mean you know it all when you get to college. BFA training takes you from the point you are at and keeps training you to learn so much more than before. A student's skill sets and knowledge keep growing in college. It is more than OK to have been training prior to college.</p>
<p>I have to agree with Sarahsmom. There may be the rare exception who is chosen by these "top" MT programs with little prior training, but that isn't the norm. More than one head of a MT program this year told us that the competition now is fierce. I think MusThCC may be correct when discussing 7-8 years ago, but I have been told that in the last two years especially, admissions to these programs has changed and the competition is now MUCH more intese than it was before! Many of these programs are seeing dozens of kids who are "triple threat" trained and have performed as such for years. Not trying to be discouraging....just realistic. If you aren't already training, start today! And get a coach or teacher who understands the MT admission game really well! And of course read CC from start to finish (good for you NMR!)
Mtxsoprano, I would agree with your ideas about a student needing to be moldable. I think most, but not all, of these programs are looking for kids who are not "diva" personalities. I also know of one boy who was turned down by a respected program this year because "he had done too much community theater." What did that mean? I suspect it meant they felt he had too little training (he didn't have any except voice lessons for a couple of years) and too many bad habits based on years of doing shows without any real instruction in how to do them well. Just doing shows isn't necesssarily a good thing. It really depends on who is directing and what the student chooses to learn from the experience.</p>
<p>As to the number of monologues necessary, my daughter had 5 prepared and auditioned at 10 programs. That was plenty. She used her contemporary comedic and contemporary dramatic at most schools. These each had two different cuts for time requirements. She also had a classical prepared for two programs that required or suggested that. She had a back up dramatic and a backup classical (which was more dramatic than her other classical) in case someone wanted to hear more. As it turned out, the only time she needed more was at CMU where as Soozie said, they have a sort of "callback" mode for some kids and she was asked to stay longer and presented several different versions of several monologues, with lots of requests to try them different ways etc.
We also made a chart which outlined all the audition requirements at the different schools, once she had solidified her list, so it was easy to determine how many songs, monologues, and what time limit, cut, etc. was necessary.</p>
<p>I was absolutely not saying that those students with no training are more likely to be accepted. Far from it. The essentials and foundations of training are what its all about. Obviously, the student with 12 years of intensive ballet is going to be more successful in a dance audition than someone with no former dance training. I was simply trying to comfort a common student fear of a lacking resume. Going into the audition season, it is so common for students to compare themselves to others who brag of their off-broadway credits. Colleges are not accepting a resume, but a performer with aspiring talent. It is all about potential and the fit of a school to an individual performer. </p>
<p>Yes, TONS of students who are triple threats with tons of training are being turned down by top programs. Admission to a school is not about being the best triple threat, it is about the POTENTIAL of a performer and the special asset that he or she will bring to a program. I would definitely choose a student with only a small amount of solid basic training and tons of potential over a self-proclaimed 'triple threat' who is stuck in his or her habits from years of specific training. Why do you think colleges advise their auditionees not to be trained on their monologue? They want to see the students true talent and instincts, not their acting coach's directing skills.</p>
<p>You are correct that colleges are not looking for the best resumes. However, training is what helps an applicant develop and hone their skills so that they audition well. Training can't hurt. It can only help. It doesn't matter so much what one racks up on the resume but by the same token, when someone has a background, it is the DOING/TRAINING that is important, more than the actual credits. What they did to attain credits or training is what helps them build up the skills to audition well. Most of the candidates who I know who have gotten into BFA programs, DID have coaching/instruction with their songs and their monologues to some degree, and have SOME training (even if various levels or degrees of that). It is not who has the best resume at all but a good audition is going to be more likely if one has training in the skills and also can audition well. That comes from experience and training usually. Those with a background are not necessarily "stuck" in bad habits. The BFA programs will teach them so much to develop in the way they want to develop these students. They would expect and are used to students who come in with training in singing, acting and dance. Most of my D's fellow students in her program have had training (various amounts) and have experience in productions. Their resumes did not get them in but their backgrounds contributed to them being able to audition well. In fact, auditioning itself is a skill. The more you do it, the better you get at it. While schools may say they don't want auditionees to be coached on their monologues, most of those whom I have met who are successful at admission, have had coaching. So, it is not the big no no.</p>
<p>Thanks for the advice, and the welcome!
Is there any good recommendations for shows for monlogues? Alot of colleges suggest Shakespeare, and then some say no Shakespeare...suggestions? I know the types of monologues to find :classical dramatic, classical comedic, contemporary dramatic, etc. Also, are there any shows NOT to do, just like some musicals are not to be auditioned with?
Just wondering.</p>
<p>i have to say thanks to comedytragedy813 for all of the questions! i had some of the same ones as well, but didn't ask. and now i have replies. best of the luck to you as well. we seem to be in the same boat!</p>
<p>Here is a source I found awhile back. It has some suggestions for plays to look at for monologues. While it's for people auditioning for AADA, I would think the source material might help you get ideas of where to look: </p>
<p>That's great, I'll definatly check that out!
Thanks!</p>
<p>I'm so excited to finally be a senior!! My entire junior year i've been reading threads about seniors finally getting ready for college auditions. And now the reality is slowly approaching. Seniors 08 whoo hoo!</p>
<p>Hi, I’m the mom of a daughter entering her senior year. She will be applying to college for musical theater and I am feeling more overwhelmed than she is by all the issues she’s facing. She is leaving Friday for 6 weeks at Carnegie Mellon, and I’m hoping this will be a big help to her. I’m looking forward to reading all your posts and getting all the info I can.<br>
Thanks, Laurie</p>