MaryMag
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investing in prelim auds? | JIJane wrote: | | MaryMag wrote: |
hey JIJane i've tried to look for sheet music for a lot of the musicals you listed (crooked mile, georgia brown's musicals like carmelina and roza, the fix, to name a few) and simply can't find it.
So tell me what you think of this substitute for a nancy in oliver audition: "what does he want from me" or "dulcinea" from man of la mancha. I have auditioned with these before so the element of ease and comfort will be on my side. |
Hi,
yes some of the sheet music may be out of print and you would have to get it transcribed from the CD. It's well worth it though to invest I have found - if the song really suits you perfectly. And you can be sure it's not overdone if the sheet music is not easily available!
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This post in the audition song thread got me thinking and I'd like to hear yall's opinions on it.
I was thinking about how much money it costs to transcribe a song from a CD ($100 and up) and was then thinking how seemingly worthless prelim auditions are, and I was led to decide: it's not worth spending a lot of time and money on prelim auditions.
By prelim auditions, I mean generals or auds for the whole season where you just go in, do something like 2 contrasting 16 bars and a monologue, and return for a callback (that is mostly dancing if you're called back for chorus and mostly reading if you're called back for a lead.) As Jazzy mentioned in the too relaxed at auditions thread, she doesn't sweat prelim auditions. I don't as much either - the callback seems to be what they base their casting decision on. The prelim aud just seems to exist in order to weed out the whackos.
So why prep so much and spend lots of money on stuff for prelim auditions when they just get you in the door, and the callback is really the deciding factor? The only possible benefit to prepping like hell for a prelim audition is the possiblity of getting a better callback - like for a lead instead of for just chorus. But my thought is that prepping like hell is not gonna make or break me at a prelim audition - since it is just the barest way of weeding out whackos (i think), I essentially just have to go in there and prove that I am a decent (not even a good) singer and actress and am fairly sane.
Does any of this make sense?
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LisaKitty
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I basically consider my primary objective at a preliminary audition to get a callback (hence my frustration when there is little to no "weeding" done between the two). Therefore, I do put a lot of effort into a prelim, just not the same kind of focus. In the preliminaries, I just concentrate on presenting the best package of myself as a performer. At the callbacks, it's focused on presenting myself as the best candidate for a particular role.
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jazzygirlsings
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I put a TON of effort into the prelim and I think that's another reason why I'm so relaxed is because I know it's my best stuff...
When you are called back, the ball is more in their court as far as what you sing, how you dance, etc.
When you show them what you have prepared, it shows them what you can do with proper rehearsal time. Callbacks are honestly about putting together the right ensemble.
Anyone at that point could do the show...it's just how you sound with another person, reading with the others, your look against others, a bit more of them sizing up your personality and how quickly you catch on to things, etc...
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