I have compiled a list of the non audition programs. My D is determined to think that she won’t be taken seriously by anyone if she goes to a school that wasn’t an audition based admission. I feel that is rubbish but wondering what everyone thinks about that? Obviously she’s auditioning at several schools when the time comes but we want some non audition options too. Do you think in an audition after college that casting agents even know? Some college programs that are audition based they probably wouldn’t have heard of either…I mean I’m sure they recognize if someone went to CMU of course but not sure if it makes a difference at the end of the day …
Makes no difference…
I agree that only talent matters in the audition room, but I do think that some schools have connections that helps you get in the room
^^Agreed
If you look at peoople working on Broadway and where they went to school, it always seems to be a mix between well known programs and also people who went to completey unknown programs or didn’t even go to college at all. Granted that’s only one way to measure success ( as many have discussed on this forum) but the fact that quite a few folks working didn’t go to " top tier" audition programs is one indicator that one can succeed without this background.
Yes @toowonderful I agree with this and have thought perhaps a larger better known program will have opportunities that are important in this field. Like a NY showcase Sr year, etc. Plus I think it is important to have outside opportunities with regional theaters for working in the summer, etc to make connections perhaps. So much to consider…Talent is of utmost importance of course but the right connection can link you to something and perhaps you would not get otherwise, like an audition, etc.
I think it is most helpful at the very beginning of a career. I don’t think Christian Borle gets his auditions/roles today b/c he is a CMU grad - but I bet it helped back in the day 
Just read an interesting article about a girl from NH who saw her first musical in Boston, at about 13 years old. Her mom saw that she loved it so brought her back to Boston to see other shows, while finding her opportunities to try acting/singing in community theaters around their small NH area. The girl was so sure she wanted to do this, she didn’t go to college, and went to NY to take a one-year certificate course of study. This girl is nominated for a Tony this season (she is in Hand to God). And so the song goes on - “no, you don’t need to go to CMU, to get the roles that you are due.” I do think, however, people should go to school for song writing . . .
@theaterwork, I really think it depends on the school and the student. I don’t know as much about most non audition schools, except Muhlenberg. Of course, they do have a scholarship audition in their admission process. Theirs is a very deep theatre program, some would say even stronger in dance than many BFA programs. Their alumni have enjoyed success in NYC and elsewhere. I do think networking opportunities might set the top name schools apart. Otherwise, school name and recognition can help, but we believe talent and how that talent is developed in a program or school or individual training is most important to the audition. Our oldest will have been graduated from his BFA program for 5 years. He’s been fortunate to have worked with alum from the “top 3” BFA schools, some of the shorter acting programs in NYC ,a few with only personal training, and everything else in between. The consensus among him and his friends is that the strength of the audition in the room still far outweighs any “name” of a school. My personal opinion is not to rule out a school because it is not audition based - in fact, I think it’s important to have a couple of these schools in the mix. Good luck to both of you!