7/16/2000

What should I sing at an audition?

Another question I hate. Sing what you sing best. Don't sing what you think anyone wants to hear. Sing what sounds best coming out of your mouth and something that you can really sink your teeth into. Now no one should EVER come to an audition with one song. ALWAYS have a few songs to choose from. Look, if you must know every song ever written then that can be a taxing event. Learn all of the genre's of Musical Theatre. The simple fact is Musical Theatre has many different styles of showtunes floating about....Traditional Broadway: like Rodgers and Hammerstein, Rodgers and Hart, the Gershwins, Irving Berlin, and Cole Porter (for example), then there is Sondheim (please don't sing Sondheim, often is mentioned...but some that all depends on the Sondheim, much of Sondheim can easily be classified as Traditional Broadway, so figure out which Sondheim can be expectable and which one's can't be...truthfully, unless the auditioner warns you against Sondheim , I say sing away). Then there is pop/rock or contemporary Musical Theatre, and there is a huge difference between RENT and Andrew Lloyd Webber or Stephen Schwartz...RENT is more like regular top 40 rock, Schwartz tends to be folkier and Lloyd Webber tends to have a more easy listening feel. Frank Wildhorn has a pop edge, but also seems a bit more easy listening in style. And then there are composers with a more operatic or legit feel...

Just know what sound the auditioners want and then know what shows you will mostly be auditioning for...most Musical Theatre performers are comfortable with all styles of music, while others "live" in one genre and not the other. For example, Rebecca Luker has a very traditional legit Broadway sound and will always be better suited for more "legit" shows like THE MUSIC MAN, THE SOUND OF MUSIC and SHOWBOAT...yet, she also could do the specific roles in more contemporary pieces with a legit edge like PHANTOM and THE SECRET GARDEN. Often times it just depends on the role in any given show. Other singers can sing in either contemporary scores or legit scores, like Marin Mazzie or Brian Stokes Mitchell. Where some singers are really only suited to pop scores, like Adam Pascal, who has a distinctly rock edged voice. Then there are people with "showy voices" voices that are also well trained, but will always sound like they are "belting out a show tune" like Bernadette Peters or Bebe Neuwirth...these aren't necessarily the Best voices, but they are unique voices...that have an edge and a personality all their own.

Are you a SINGER singer or is your voice an odd mix of colors and edginess??? Know what KIND of singer you are...that will dictate the kind of Musical Theatre you should be doing. And if you can do many kinds of musicals...that's good to know as well. Also, what you are when you first come to New York can be very different from what you become. Look at actress, Debra Monk, who started in shows like PUMP BOYS AND DINETTES or OIL CITY SYMPHONY and ended up as a legitimate actress in many plays, even winning a Tony for THE REDWOOD CURTAIN. A Broadway career can go in many different directions.

Now, all that said...know that like the blue T-shirt that everyone is wearing, there are songs that everyone is singing. Are you so sure that you want to be the 15 person in a row to sing "A Bit of Earth"? Do you have a backup song just in case your best audition song has been sung to death that day? It's your job to have done enough research on audition material to know what everyone is singing here in New York? Sure songs have a strange way of becoming popular at open calls. While everyone says "Never sing anything from Les Miz or Rent or anything that's currently running," no one is actually singing those songs...so everyone is singing songs from shows that have closed or aren't running on Broadway, so the most common songs at open calls are actually songs from "The Secret Garden", the Yeston/Kopit "Phantom" and "Children of Eden". Audition material takes on a strange life of it's own...and there really is no rhyme or reason for it. It's like everyone is discovering the same material at the same time, or everyone has the same vocal coaches or voice teachers...I don't know.

So, get yourself a notebook...listen to every cast recording you can get your hands on....and work with a vocal coach...and have a book of audition material. A legit piece (if you actually have a legit voice), a standard Broadway ballad and a standard Broadway uptempo. A great comic piece (If you are funny...a comic piece will do you no good if you can't make people laugh), a driving contemporary song, and a pop or contemporary ballad. (even if you are a legit singer, you should find something contemporary that works for your voice, since so many shows are pop influenced these days, this is a good thing to have...)
Now...more...are you good at jazz? Yes, have a song that shows off your particular style. Are you good at real rock and roll? Have a good rock song (or several).. Can you play an instrument? Keep it up, you never know when that will come in handy (i.e...CABARET). Are you good at Country singing? Have a country western song. This book should be YOUR book. This book should have the songs you sing best. You can have another book of material you are working on...but the one you bring to auditions should be the one filled with what you can do now. No song in your audition book should have notes in it that you can't hit. No song should have lyrics that you can't remember. If your audition book has 3 songs in it, fine, then those are your three audition songs. If your notebook has 40 songs in it, then you are amazing that you can remember all of those songs (and maybe you can). I would suggest, you also have several of those songs marked for 16 bar auditions and 32 bar auditions. Your book should always be changing, but if 5 years ago "I Could Have Danced All Night" was your best audition song, ands it still is now, that's great...whatever you love to sing, and whatever always works for you (like the right color or the right pair of shoes), that's your song. If songs no longer work for you, try something new...but remember what worked in the past. I would suggest you keep a journal of every audition and what you sang...and if you got a callback, etc...or how you felt....

This process of material can take a while, that's why it may be important for you to go to as many auditions as you can...to see what works for you.



What's the difference between a ballad and an uptempo?

A ballad is a slow lyric song that shows of the voice and an uptempo is a upbeat song (it's faster) that tends to show personality and sometimes humor. Sometimes people say "a personality piece", this means something splashy and fun...or something that shows a character rather than a voice.

What's the difference between a contemporary musical theatre piece and a pop tune?

Contemporary musical Theatre is a show tune with a pop edge, like something from Les Miz or Miss Saigon, or most Andrew Lloyd Webber, Frank Wildhorn, Stephen Schwartz, Maltby Shire.

An actual pop tune should be a pop song that is not from a musical. Certain composers like Elton John (until recently), Billy Joel, Carol King, James Taylor, and many many others write songs that can be quite effective at a pop musical audition. Instead of just singing a show tune, often times, rock edged shows (like RENT or AIDA) will ask singers to not sing a show tune and rather them sing a real rock or pop song...it's good to have a few under your belt for when these auditions come your way.

What should I audition for?

Everything.

Not really. If you are not a dancer, don't show up at an open call for Fosse or Chicago. However this is an interesting dilemma for many a Musical Star wannabee. Sure, you are a great singer actor, and many shows do not really require a lick of dancing (there has never been a movement call for Les Miserables)...so, yes, if you are a lousy dancer, there are shows that will never test your movement skills...however...many shows will have that dreaded "movement call". My advice: take a dance class for the simple task of the movement call, otherwise eventually your secret of "Two left feet" will be found out. Find yourself with the ability to pick up dance steps...no one will ever cast you in Fosse, but you won't be nixed by the choreographer.

Back to the original question (which was What Should I Audition for)...

Well, what do you want? Do you want to be on Broadway? Well, there are many good things to sink your teeth into until you make that giant leap. Regional Theatre, National Tours (Equity and Non-Equity), Summer Stock, Cruise Ships, Theme Parks and the dreaded TYA (Theatre For Young Audiuences)...also showcases and workshops...

All of the above are generally listed in Backstage...and if you have talent, you will get something somewhere...but your first few years, be prepared to leave town. Build up your resume...try to get your equity card. But also get yourself jobs...if you want to do musical theater...singing and/or dancing gigs look good. Just get your feet wet and enjoy.

If you really don't want to tour, that's okay too (it's hard emotionally to tour, and I will say, it's not always good for you)...but be prepared to go out of town for Regional Theater...sometimes a month or two in another city can be great. Also, Summer Stock is great since not much happens in NY from May to July....

Once you've established your resume, maybe staying in town and going to open calls can be a great idea for a while...while you are possibly not getting the big jobs...take classes, all kinds of classes: Voice Lessons, Acting (just a point here, always take acting classes, even if you just want to be in musicals), and as I said before, take a dance/movement class as often as possible. Keep busy, take workshops, there are so many wonderful opportunities in New York to continue to grow as a professional...learn who are the best teachers and what are the best classes and always try different teaches...also, audit classes that you are unsure about...

An interesting dilemma, what are you doing in New York? Are you sure that the things you are studying and the people you are working with are really helping further your career? Are you just taking the first thing that comes your way? Are you working with legitimate professionals who have an edge to helping you get ahead? If you do a play or two with an Off-off Broadway Company, ask yourself, is this really helping me? Sometimes a group of actors can actually point you in the wrong direction. When you get involved with a particular production, ask yourself, is this going to move me in the right direction? The truth is, when actors first start out in New York, they can get sucked into some, well, crap. I mean, of course, not all Off-off Broadway is crap…and for different people different types of theatre are good for some, not for others. No art is bad art…but, what kind of career do you want? When first getting involved with any production, and company, any group of actors, check out, if possible the results, the finished productions, or talk to all of the people you can before jumping into any given production program or theatre company. If you are thinking, many of these people are bad actors…don’t work with them, even if you like them as people, even if they are your friends. "But it’s a play I always wanted to do", many actors will say…but did you want to do a bad production of it? Don’t get involved with a production just to do something. Actors are the most vulnerable group of people…when they are first approached to be involved with things, sometimes they are so excited to get a gig, they don’t realize that the people, production or place is not really good for them. Never say "yes" to anything immediately until you do your research. The best performers work all the time, but they should also be able to think about what they want to do before they make a mistake. Often times actors also get themselves involved with groups of people with unflattering results. Hey, not everyone who is an actor really takes it as seriously as the next person…or has the same concepts of performing as the next person. Find a good mentor or two who can help guide you through the dos and don’ts of the profession…and learn from everyone’s mistakes. Believe me, a good group of struggling actors can be enlightening. But make contacts with all sorts of people…make sure your circle of friends don’t all live on the same block and work with the same people. Broaden your horizons and step into the deep end of the pool. Challenge yourself, and never play too safe.

I have gone to many showcases of plays to see particular actors. Many times I have said, "Well you were good. What are you doing working with these people? They are not helping you. Time to move on. It doesn’t make you look good." Harsh. But helpful.




posted by Dream Casting 7/16/2000 9:04:47 PM
To reach casting, email us at casting@broadwaystars.com

7/5/2000

What should I wear at an audition?

My favorite question because, as dumb as this sounds, ladies and gentleman, this is important. Once you have this particular dumb problem solved, all others are so much worth your while to focus on. However, there are extremely talented people out there who are shooting themselves in the foot by not tackling this problem.

You should dress well. You should not overdress (evening gowns, tuxes, suits)or underdress (sloppy T-shirts, ripped jeans, overalls, etc). Understand what you are auditioning for...because all of these factors add up. If you are auditioning for Rent, you would be okay wearing jeans….but make sure they fit well and look great! If you are auditioning for a more period piece you should dress more conservatively.

Women: Hair and makeup. Learn how to get this right. Not too much makeup…but please wear some. Since most auditions are held in rehearsal studios, apply makeup for fluorescent lights. Get a makeup mirror with fluorescent lights. Or, better yet…go to the makeup counter at any given department store and have a consultation. MAC cosmetics will do a makeover/makeup lesson…their prices vary…. Explain what you need, and what you want. They will then help you apply the makeup and teach you all sorts of techniques…but most fancy department stores and cosmetic lines will offer this…it will cost you money, but if you know that applying makeup is a problem for you, or you know you are out of touch with what will suit you, I suggest you take the time and spend the money on doing this…every year or so…it will improve your appearance.

Hair: Don’t hide behind an out of date hairstyle…too long hair and big bows don’t do the trick. A woman over 30 should not still have long hair with bangs. If you look great with long hair, fine, just keep it a reasonable length and a stylish cut that is out of your face. Trust me, long stringy hair will do nothing for your overall look. If you are 22, long hair is lovely. Once again, keep your hair out of your face for crying out loud. Pulling a massive amount of curls out of your face is fine with a simple clip or barrette…a big stupid bow looks dumb. Big hair is sometimes a problem due to humidity and heredity…fine, learn to groom big hair. However, big, teased, mall hair looks unprofessional and tacky. Learn the difference between a nice head of thick hair and overprocessed hair. We want to see actresses faces, not their mane of hair. If you do have a head of impressive tendrils (a la Nicole Kidman or Bernadette Peters), that’s a lovely thing, but learn how to present that hair properly so people will say "she’s got lovely hair", instead of "wow does she have a lot of hair!!!"…Some good advice from other professionals can help with this problem.

Also, there is nothing wrong with short hair for women. Too short can look severe and too butch…but don’t think that you are supposed to have long hair because you are an actress. Wigs are always an easy thing to come by…you want to look your absolute best…find out what that is, if it’s short hair, great…go for it.

For men: shave, have a good haircut…and if you have long hair, remember that it will limit your options. Often times you can say, My hair is long/ I have a beard because I am in a show, etc…go ahead, say that if that’s the truth. If you are attached to your "look" that is okay, just keep it fresh…a too dated look can turn people off (FYI, that bi-level, short in the front long in the back haircut is WAY over!) This also goes for facial piercings, shaved heads, and strange colored hair. All of these things are great for shows like Rent or JCS, but remember, if you have a more neutral look, you can be more versatile and considered for other things. If you are in a rock band or in an alternative type musical, that’s fine…just remember an off-beat look will limit you.

What you wear:

I was recently at a showcase for a University of musical theatre students. The big joke was all of the guys had one blue T-shirt that everyone was passing around backstage. The reason why this is funny to me is because all of the guys had the exact same blue T-shirt on….this is because it looked great on all of them…however, like an overdone song, one should note that just because it looks good on you, perhaps you should decide on another color. Sure, options for men are so limited…but an individual approach to a popular "good look" may need to be achieved. Since I know that men are not all so good at the fashion thing, may I point out that obviously a good fitting pair of pants and a good pair of thicker soled shoes will be a good place to start. (The thicker the soul of the shoe, the taller you will look) Khakis, blue or black jeans all are good choices…you don’t need to wear a suit. A dress shirt with a tie or without a tie or a well fitted T-shirt are all the easiest options. Since men have such limited choices in fashion, my suggestion would be to always be on the ball about new T-shirt looks or colors out on the market. Banana Republic also may be dull, but they have some new variations on the same themes. (Different cuts in pants, T-shirt shapes, and colors). The basic silhouette rarely changes…and it’s so hard to vary the theme. But just make sure you pick the best colors for you.

Women…so many more options. To start off: keep it simple and tasteful…

Make sure they notice the woman, not the outfit. As a rule, women should wear a dress or a skirt. And high heals. No question. This is a good place to start. However, if you look better in a pair of pants. Wear them….save the hot leather or rubber pants for your Rent auditions and going out on Friday night. Now, while I suggest you dress "more on the conservative side"..do not dress frumpy. A flowered dress with a lace color looks dumpy. When in doubt with color…start with black and vary this thought. Prints, florals, and bright colors are fine if you know what to do with them….keep away from them if they frighten you.

I saw a woman at an audition in a too-tight floral dress from 1984, with purple tights and white pumps. This is more than a fashion don’t, this is a fashion disaster. If the people auditioning you can’t get past: "What is this hideous outfit she is wearing?" we will never listen to you sing.

Do yourself a favor. At open calls look around at what the other women are wearing. Who looks good to you? What are they wearing? Are many women dressed in a similar fashion? You will not, as I have at every single open call, that there are a handful of women who are dressed very well, in the best way too show off their best assests. Then there is an enormous amount of women who all look exactly the same, almost as if they all went shopping at the same store and bought the same pair of shoes and the same dress. And then there will be a few women who look awful. Take notes. The truth is, the majority of women will all look fine, but without complete finesse (they may need more makeup, a better color, and a more flattering pair of shoes, etc…) Find that one women who looks the best. Is it because she is actually a stunning women who might as well be a super model? Or is it because she just put herself together well??? More often than not, it’s because she pulled it together very well. Note: I should learn to look that good for auditions.

Think about what looks best on you and build up a wardrobe based on this…if you don’t know, go shopping with a friend. The friend you know looks great all the time. Not just based on your opinion, but on others’ opinions as well. Look at what women your size look good in…be honest about your figure flaws, if you know you will always have larger hips…find the clothes that best suit this dilemma…and that may take time and consideration…but also, don’t dress to conceal, rather dress to "flatter"…a big bulky sweater may make you feel cosey in the winter, but will just make you look fat at an audition. There are also great personal shoppers at fashionable department stores that may cost a pretty penny, but will help tremendously. Look, spending some cash on one great look could get you callbacks and more auditions, while looking out of date and frumpy could make you appear less than who you are. If you are a "big girl" embrace this fact and learn that big is beautiful, and learn what looks best on you. Also, if you know you need to lose weight…the simple truth is you either need to do that or learn to love the body you have. In the meantime, don’t forget what you look like now…if your weight is holding you back, then figure out how to deal with that. But be safe about it. Learn how to take care of yourself. Believe it or not, there is room in this business for bodies of all shapes and sizes…you just MUST be comfortable with who you are…if you present yourself with confidence and presence, a few pounds can sometimes be overlooked. Of course, the simple fact is if you are meant to be an ingenue or a leading lady, then you really should be in great shape. Many women’s simple problem is not their weight, but rather their ability to show off their best assets. Many times an imperfect body type can never be improved by diet and exercise, but understanding what looks good on your shape and size can be all you need to do to be marketable. Learn what needs to be done and go to it. I can’t tell you what needs to be done without seeing any given person. The point is, understand who you are and how to look your best.

The next question you need to ask yourself is this: If all things are equal between two people for a role: Both are great singers, great performers, great actors, great dancers, great looking naturally, etc…& the only difference between you and someone else is that you don’t look your best and the other person simply knows how to put themselves together better than you do. This is a disservice to your career. Learn to look your best. It will also boost your own confidence if you know you look great. This superficial technique of "dressing well" can only help you.

Now. All that said. Don’t ever stop with your makeover. Just because you have found the perfect shade of lipstick and the perfect pair of shoes…. Remember, it’s your talent that will ultimately get you a job…

NEXT

What should I sing at an audition?


posted by Dream Casting 7/5/2000 10:11:44 PM
To reach casting, email us at casting@broadwaystars.com

6/29/2000

DREAM CASTING

Rumor has it the Woody Allen’s BULLETS OVER BROADWAY may become a musical (a wonderful idea)

Best idea Idina Menzel as Olive (Jennifer Tilly’s Oscar Nominated Role) and Michele Pawk as Helen Sinclair (Diane Wiest’s Oscar Winning Role), Daniel Jenkins, Patrick Wilson or Evan Pappas as David Shayne (the John Cusack role, the lead) and Chazz Palminteri must reprise his Oscar nominated role as Cheech, since there may not be a single soul out there who can do that role the same justice.

CASTING RUMORS

It has been rumored that Sandra Bernhardt has been cast as Magenta and Lea Delaria has been cast as Eddie in the upcoming ROCKY HORROR SHOW.


CASTING FAQ’s PART one

Is a Casting Director a Director?

It is not the casting director’s job to "direct" a performer. It is sometimes the casting director’s job to tell the actors what the director is looking for. When casting director’s have "work sessions" they are usually supposed to be with the musical supervisor or the director. However, there are casting director’s out there who will direct actors, or coach them. It’s tricky because some casting director’s are indeed crossing the line when they do this. But if the producer’s who hired this casting director know that they are having work sessions, then, I guess it’s okay. I just don’t think they are supposed to do this.

What is a Casting Director?

Easy. The person who "calls you into audition for something". A casting director is hired by a director or a producer to audition actors. They usually do this by a series of open calls, agent submissions, screenings, callbacks, and sometime, unsolicited mail. (Unsolicited mail is when actor’s send their headshots to casting directors without an agent…it’s totally permitted and welcomed, just, unfortunately, not always looked at)

Is the Casting Director the only person in the room?

Sometimes, yes. For musical theatre, I believe no. I think it is required to have a musical supervisor of sorts (besides the accompanist) to be in the room to judge the vocal abilities.
I think this a requirement. However, sometimes some casting offices will do a day of "generals". In this day, just the casting director/directors, may be present. These days can happen for many reasons, one being, quite simply, that a day of casting had been booked, and for some reason the people who were supposed to be there had to cancel, and perhaps either, it is too late to cancel the space, or, the office has some time to investigate new talent, and wants to see new people. Days like this are good for new actors/singers, because often times there is enough time to see more than just 16 bars, to try out new material, or to just introduce yourself to a casting director. It’s really rather rare and a special opportunity. And it rarely happens.

What is the difference between an Agent and a Casting Director?

Simple. An agent represents the actors and a casting director casts particular projects.

What is a Casting Agent?

No such thing. People who don’t understand the difference between an agent and a casting director use the term "Casting Agent". There are Casting Directors and there are Agents. Simply put…when someone confuses the two professions by using the term "Casting Agent" they really are saying "I don’t understand the difference. However, there are Agents at some bigger agencies who are in "Casting"…The agencies have casting departments (not all of them, just the bigger agencies), and it is their job to find projects for their clients…matching them up, reading scripts and finding the right projects. This needs to be done because big stars need help deciding what projects they should be considered for. This, however is not a concern for the new, up and coming Musical Theatre performer, who may not even have an agent yet.

Most Theatrical Casting is done by specific Casting Offices…many people call them Casting Agencies. This term is widely frowned upon because then people then mix up the Casting Directors from the Agents. When you are starting out, learn that there is a huge difference between Casting Directors and Agents and don’t combine the two words and say Casting Agent or Casting Agency…learn the difference. Put very clearly: The Casting Director is the buyer and the Agent is the seller. A Casting Director will call an Agent to say "I would like to audition your client, John Doe", and an Agent will call a Casting Director to say. "Will you audition my client, John Doe?". The relationship between Casting Directors and Agents is very strong. They deal with each other all day. The one thing to point out to actors is that until they sign with an Agent, their best contacts are often the connections they make with Casting Directors…. Because, with or without an Agent they can get "called in" by Casting Directors who know and like their work, depending on an actor’s level of ability, they may sometimes benefit by not signing with an Agent immediately. The more in demand an actor becomes, then the more important is the need for an Agent.

Who is sitting behind that table?

Depending on what you are auditioning for, there will sometimes be a small or large group of people behind the table. If you really want to know who’s sitting there, sometimes there is a list outside of the door. Actors should know who is in the room before they walk in the door, or at least have the list given to them If it is an open call, the monitor of the audition will know. It could be all sorts of people. The musical director, the creators, the director, the choreographer, the producer (s), the casting director, any given person’s assistant, the producer’s best friend…etc…or it could just be the casting director and the musical director if it’s an older project. Most long running shows such as Beauty and the Beast, Les Miz, Rent, Phantom, have supervisors who run the show (those who now direct the new cast members) that person is usually there for open calls or at least callbacks. Just be good at recognizing who each person is…it can be useful down the line.

At an open call, should I be upset if I only get to sing 16 bars?

No. Not at all. Sure it can be frustrating, just find several good songs that have a great 16 bar cut of the song that really shows you off and you will be set.

Why do I never get a callback?

Who knows? There are so many reasons. If I list them all it would take all day. Mostly, what some people fail to realize is that they haven’t discovered who they are yet…how to paint the right picture at an open call. Or really, auditioning is a hard thing to get right because there are so many factors. A great voice is your first asset…continually work on that…finding the right material….

The next given: How you present yourself. Smile, be well groomed, and make sure you look your best. That can be so important. Enjoy your audition…or at least pretend to. Remember the people behind that table want you to be good. No one is ever thinking "Oh god, I hope he sucks!" They want to be able to like everyone.


Next…. What to wear to an audition….


posted by Dream Casting 6/29/2000 7:47:56 AM
To reach casting, email us at casting@broadwaystars.com