[MaryMag]

I know I enjoy helping other people with audition stuff when I'm able to, but it seems as if the same questions get posted again and again. So I'm posting just some general audition and preparation rules that you MUST follow.

This information is from the website: http://www.redbirdstudio.com/AWOL/acting2.html If you have other questions about acting in general, go to this website!

HOW TO AUDITION FOR MUSICALS

Get the book. Either buy the book or get it from your local library. If your library does not have this book, then ask the librarian for assistance in getting it through an inter-library program.

You should be completely informed before attending an audition. If you have any questions about audition procedures, contact the auditors, or producer or whoever is listed as a contact.

Research the show(s) for which you plan to audition. Choose the roles that are appropriate for your type and your singing abilities. Not everyone is suited to be the lead. Many actors earn excellent livings filling supporting roles.

If the show already exists and has been recorded for the mass market on video, CD, film, get a recording and listen to the songs. Note which characters best fit your type and singing ability.

When you have a good idea of which character or characters you might be suited to cast, seek out songs from similar musicals that have characters with similar traits as those you think suit you in the show being cast. The songs from those similar musicals will be the material you prepare for your audition.

At the initial audition, it is generally not a good idea to sing a song from the show being cast. If you do sing a song from the show being cast, you run the risk that the character you choose to audition for might not fit the vision the auditor has for that character, and you could be eliminated for that role. The auditor might not envision you in a different role either, so you will be out of the running for other roles as well.

Choose selections from the songs that showcase your range and vocal abilities. Choose songs that can be "acted," not just "sung." In musical theatre, the songs are part of the story. The songs might be used to reveal plot, develop character, reveal subtext, create conflict, or any number of theatrical intentions. The songs are like dialog set to music. Get sheet music in your key. This is provided to the accompanist.

The exception to this is if the auditors require that performers sing a song from the show. For instance, they might only be auditioning for one role in the show. Perhaps they are seeking a replacement for a lead or a supporting role. In that case, the auditors are looking for just the right person to sing the songs that one, specific character will sing. So they are apt to require performers to sing only a song for that specific character.

If you receive a callback, you will likely be asked to perform a song from the actual show being cast. If possible, it is also a good idea to become familiar with the music for the show being cast. You should do the same "acting" work on the show song as well.

When you enter for your audition, greet the accompanist. Give your music to the accompanist, in the correct order, beginning with the selection you will sing first.

Introduce yourself to the auditors. State your name and the title of the selection or selections you will perform. Do not give any background info about yourself or your selections. The auditors will likely already be familiar with the songs and the shows they come from. They will already have your résumé (of course you brought several copies and several photos to the audition,) so they do not need background info about you.

The accompanist will likely give you a starting pitch before each selection. Focus on the pitch then begin singing. The accompanist will follow your lead.

Avoid most hand gestures unless absolutely necessary. Use your eyes, face and voice to express your characters intentions and subtext.

Professional auditors will be able to size up your abilities within the first few measures. Give a strong start and a straightforward, honest performance.

When done with your audition, thank the accompanist and exit.

If called back, be prepared to sing a song from the show being cast. Callback is usually a day or so after the initial audition date. To make it easier for the auditors to remember you, wear the same clothes, hairstyle, and make-up you wore at the initial audition.

Always be prompt, patient and pleasant.

I think these are good general rules, yet there are quite a few more that I'll add later.

*Edit Aimee* There is also this thread too. Cheers:

http://musicals.net/forums/viewtopic.php?p=676302&highlight=#676302

[jazzygirlsings]

MaryMag had mentioned the book "How to Audition for Musical Theatre" and I was a big dork and posted:

[MaryMag]

[jazzygirlsings]

^You can also find copies on amazon.com or google the Drama Book Shop in NYC and they can mail it to you.

But, without a doubt, it is a MUST HAVE book on auditioning...A lot of it can actually be applied to community theatre/college auditions as well.

Going back to "The Complete Professional Audition" book, one of the tools I found most helpful were the examples of "parallel" songs. That means, songs that are very similar in style/intent that are sung by characters from shows other than those that you are auditioning for...

A good example (if I can remember this right) was:
Sarah Brown- Guys & Dolls "I'll Know"
Marian Paroo- The Music Man "My White Knight"

I find that a lot of people are asking the question "What Should I Sing?" a lot...Understanding and knowing even basic repertoire and knowing how to spot a parallel song is an extremely valuable skill as an auditioner...

[Jenko]

Just to throw a spanner in the works (my job)

If everyone buys this, won't they all be doing the same thing?

[jazzygirlsings]

^No...because HOPEFULLY they'll be smart enough to be able to use the books as tools and not use the songs/acting material in the books word for word, which is a warning that all of these books make in the first chapter...

It helps the actor to be able to identify for him/herself what a parallel song is by doing a bit of research. None of these books "spoon feed" you the answers, they simply point you in the right direction.

"Audition" is a brilliant book for so many reasons...It helps you to ask yourself more questions about the monologues you are currently doing to help them be more interesting. It is written by someone who has worked extremely closely with the top people in the business and is very insightful. It tells you a lot about the business, how you present yourself in an audition, what the casting directors are looking for, how to handle multiple audition appointments if you are running late, what to wear, songs and monologues that are overdone, what to look for when searching for a monologue, attitudes, etc.

There is a reason it is so respected among people in the business as a good guide to auditioning...

If you are lazy and stupid, then yes, you will be part of the idiots that use the monologues and songs straight from the book...but since most of the industry has read the book, you'll be pretty transparent...

As for the other books mentioned, that goes for them as well...

[mtgirl118]

Thanks so much for the advice. I'm totally getting "Audition" now. Now if only I could get my parents to buy it for me........

Ellen

[onemusicalmaniac]

Hey,
Whoever sugested Audition, I bout it yesterday and am about half way through it and is the best investment I've ever made. Thanks so much!
<3Christine

[jazzygirlsings]

[MaryMag]

I'm auditioning for [name of show], is there a part for me in it?
and
I'm auditioning for [name of character], what is his/her vocal range?

www.stageagent.com
If you need a brief synopsis of a show, including the characters in it, those characters' specific ranges, and their age ranges, this site has it. I took a look at this site's advice concerning musical auditions and monologues, however, and their advice actually was not too good...
http://www.mtishows.com/default_HOME.asp
On the left side of the screen, it says 'search for' and has an empty box. Put in the name of the show and click go. Doesn?t always have specific vocal ranges, rarely has age ranges.


This site will probably answer your Q's before you even need to ask them.
http://experts.about.com/q/Acting-Plays-Singing-695/index.htm
Here you will find questions and answers on everything from general audition advice, to somewhat specific vocal technique advice, to suggestions for songs to sing for specific musical auditions. I know I found about 1,000 suggestions for songs to sing at an Into the Woods audition.

[jazzygirlsings]

I just mentioned another excellent source book for finding monologues/scenes...

It's called "The Ultimate Scene and Monologue Source Book" and you can find it on amazon. It doesn't give you the entire monologue, but points you in the right direction.

It gives you a background about the play, the age of the character, the type of monologue (comedic or dramatic) and the beginning and ending line of the monologue. I've found some great ones because of this book! I highly recommend it!

[MaryMag]

For your own good, please do not use any of these songs or monologues at your audition.
These are a few of the most overdone songs and monologues. There are many reasons why you shouldn't do frequently done songs/monologues. First and foremost, the casting directors won't listen. They'll be bored and perhaps even irritated. Don't you guys ever get bored and irritated at open auditions when you hear "Popular" or "Think of Me" sung 50 times? Think how these poor director feel. Using an overdone song/monologue may also make you look amateur-ish, like you only know the very well-known pieces and aren't that knowledgeable or aren't willing to do extra work and research.

The most overdone audition songs according to http://www.musicaltheatreaudition.com/performance/auditions/overdoneauditionsongs.html
On My Own from Les Miserables
Adelaide's Lament from Guys and Dolls
Memory from Cats
I Hate Men from Kiss Me Kate
All That Jazz from Chicago
Wash That Man... from South Pacific
Can't Help Lovin'... from Show Boat
Big Spender from Sweet Charity
You Can Always... from City of Angels
Shy from Once Upon a Mattress
Tomorrow from Annie
I Enjoy Being A Girl from Flower Drum Song
Broadway Baby, Hard Hearted Hannah, Hit Me With a Hot Note from Follies
Surrey With The Fringe On Top & I Can't Say No from Oklahoma
They Call the Wind Mariah from Paint Your Wagon
Corner of the Sky from Pippin
Summertime from Porgy & Bess
The Music of the Night from The Phantom of the Opera
Hero & Let's Hear It For The Boy from Footloose
Seasons of Love from Rent
Big Spender from Sweet Charity
I Get a Kick Out of You
Miss Bird
Embracable You
New York, New York
Any show that the company you are auditioning for has done in the last five years.
Whatever the "Hot New Musical" is... right now it's Wicked
The Sound of Music
A Chorus Line
Rent
My Fair Lady
Titanic
Footloose
Grease
Jekyll & Hyde
Little Shop of Horrors
The Fantastiks
Les Miserables
Phantom of the Opera
Evita
Almost everything by Andrew Lloyd Webber


The most overdone monologues, according to http://www.musicaltheatreaudition.com/performance/auditions/overdonemonologues.html
"You Shouldn't Need Someone That Much" from This Boy's Life
The Peter Pan monologue by Christopher Durang
And Miss Reardon Drinks A Little - the squashed puppy speech
Brighton Beach - Eugene's monologue
Butterflies are Free - Jill Tanner's speech
Chapter Two - Jenny's "I'm worth it.." speech
Fantasticks - Luisa's speech into song "Much More"
Durang - Tuna fish monologues
Tea and Sympathy - Tom
Whiskey - "Tiny had been tackled by guys..."
Woolgatherer - death of the whooping cranes
Zoo Story - "Jerry and the dog"
Romantic Comedy - marshmallow through the nose
Say Goodnight, Gracie - chunky turkey soup
SLOW DANCE ON THE KILLING GROUND - Rosie's virginity
SPLIT - Stevie Wonder speech
STAR SPANGLED GIRL - Sophie's "Mr. Cornell" speech
HOUSE OF BLUE LEAVES - All Bunny and Banana speeches; Ronnie's tap nce speech
I NEVER SANG FOR MY FATHER - Gene's final monologue
IT'S CALLED THE SUGAR PLUM - Infamous "Strudel Doe-Strudel Dough"
KENNEDY'S CHILDREN - the sex goddess speech
KNOCK, KNOCK - St. Joan walking on water speech
LAKEBOAT - jock who wanted to dance
LAST OF THE RED HOT LOVERS - "humping Charlotte Korman"
LONE STAR - the Grand Canyon speech
LOVERS AND OTHER STRANGERS - trying to get out of the wedding
MATCHMAKER - Cornelius' monologue
MASS APPEAL - dead goldfish speech
NOURISH THE BEAST - orphan speech
Glass Menagerie -Tom or Jim monologues, or Amanda's jonquil speech
Girl's Guide to Chaos - dating speech
Wall of Water - last cigarette monologue
Taking With - 15 Minutes
Lone Star - Roy's Edith Ellen monologue
Romantic Comedy - Marshmallow monologue
Quilters - Sunbonnet Sue
Shadow Box - Beverly
King Lear - Edmond
Love Minus - If Actors go to Hell monologue
ANYTHING FROM:
Laundry and Bourbon
A-My Name is Alice or any of its sequels
Key Exchange
Proof
Beyond Therapy
Brighton Beach memoirs
CRIMES OF THE HEART
DIVISION ST.
EXTREMITIES
TALKING WITH
NUTS PAINTING CHURCHES
P.S. YOUR CAT IS DEAD
QUILTERS
FEIFFER'S PEOPLE
Hold Me
I Hate Hamlet
Little Footsteps
If I Only had a Brain
Equus
House of Blue Leaves
Star Spangled Girl
Baby with the Bathwater
Fifth of July
Boys Life
Heidi Chronicles

[MaryMag]

MaryMag's brief guide to acting an audition song with an example.

1) Take the lyrics to your song and write them down.
Don't you know what's out there in the world?
Someone has to shield you from the world.
Stay with me.
Princes wait there in the world it's true.
Princes yes but wolves and humans too.
Stay at home. I am home.
Who out there could love you more than I?
What out there that I cannot supply?
Stay with me.
Stay with me, the world is dark and wild.
Stay a child while you can be a child, with me.

2) Answer these basic questions:
a. Who am I speaking to? Rapunzel, my beautiful child that I've kept locked up and safe from the world
b. What happened immediately before this? What prompted me to sing this song? I discovered that my dear child had been secretly letting a prince into her tower. I am upset that she's so callously, so naievely dismissed my protection.
c. What do I want from this person? I want to convince her that the world is dangerous and that I can protect her
d. What different ways can I get this? (these are also called tactics) I can bully her. I can scare her. I can plead with her. I can guilt trip her. I can make her feel loved. I can appeal to her rational judgment.

3) Use these answers to plan your motivations/determine the subtext of each phrase of the song.
Hint #1: utilizing many different ways of getting what you want will keep your song dynamic; it will keep it constantly changing throughout your audition, instead of remaining at the same level throughout the entire song.
Hint #2: Look at the sheet music. Pay attention to key, pace, and time changes. These are good “change” places, or good places to change your way of getting what you want. For example, on the “stay at home, I am home” phrase, the time and the pace changes. So I switched my tactic from scaring to bullying.
Don't you know what's out there in the world?
My innocent daughter, you can’t understand all the danger out there.(appealing to her rational judgment)
Someone has to shield you from the world.
This is why I keep you safe and locked away.(appealing to her rational judgment)
Stay with me.
Choose me. (appealing to her rational judgment)
Princes wait there in the world it's true.
Yes, there are idiots who’ll say they love you. (scaring her)
Princes yes but wolves and humans too.
There are things that will eat you and rape you. (scaring her)
Stay at home. I am home.
Listen to me when I speak! (scaring her)
Who out there could love you more than I?
I have a right to your love. (bullying her)
What out there that I cannot supply?
I have given you everything. (bullying her)
Stay with me.
I will force you to stay.
Stay with me, the world is dark and wild.
Please, please don’t hurt yourself. (pleading)
Stay a child while you can be a child, with me.
I just want you to stay innocent. (pleading)

4) Make these choices show as you sing. Differ your tone, facial expressions, and movement to show when you are making a rational appeal, when you are scaring her, when you are bullying her, and when you are just plain pleading. For example, on the “stay at home, I am home” phrase, where I switched my tactic from scaring to bullying, I would transition into a belt. I would crumble back into a softer head voice on the next “stay with me” as I begin pleading with her. Mark these decisions in your phrasing if you like, but some people prefer to just do what comes to them in the moment.

5) Rehearse. Rehearse rehearse rehearse. It is not enough to simply write this stuff down and expect to do it when you get up to audition. Because you probably won’t. You’ll have too many other things to think about in that moment. My rehearsal tip is to video record yourself without the sound. Then show the tape to a friend who does not know what you’re singing, and ask them if they can identify what is happening/what you are trying to get in this song. If they can’t tell, you need to make your tactics more visible or you need to go back and pick more specific, varied tactics. If they can tell, congratulations! You are doing a great job of being expressive and being specific! And specificity is crucial. Generality is the enemy of good acting. If your friend says, “You’re sad in this song,” that’s okay. But if they say, “you seem to be persuading, forcing, and begging a loved one to return,” that’s even better!


This is just my very rough, very basic guide. I could and may add more in the future.

[MaryMag]

bumping it up again cuz i think it's a useful thread! but i started it so i'm baised.

[Bianca.]

[jazzygirlsings]

I also nominate this thread for a sticky!

[broadway_baby416]

wait, why have people stopped posting? it's such a good thread!!! please keep going, I'm kind of new to this and any insight would be mucho helpful!!!

thanks!

[MaryMag]

What Jazzygirlsings has in her repertoire... and what you should, too!

What is a repertoire book, you may ask? It's the songs you can perform! You generally keep the sheet music in a big binder and bring that binder to auditions with you. Yes, you probably have a song already picked out to sing at your audition, but occasionally casting directors will ask you for a particular kind of song. You can either stutter and stammer and say "uh, I don't have that kind of song" or you can impress the heck out of them by whipping out 2 or 3 options for them to choose! Rep books also make selecting audition songs easier in general. Let's say you're auditioning for Anything Goes - you already have a Porter song in your book! You're set (essentially). I'm not sure how necessary a rep book is for high school and community theater auditions, but at the the higher levels it is quite necessary!

[jazzygirlsings]

Another thing that I do with my binder is...

I make sure that my music is in three ring binder sheet protectors (non-glare) and I make sure that (at the VERY least) my 16-32 bar cuts are not on a page turn for the pianist if I can help it.

(Now this is my big secret that all my friends have copied and now I'm noticing EVERYONE does it! LOL!) I put those colored tabs where each of my song cuts are and label them with the song title in alphabetical order. I have had pianists thank me PROFUSELY for that!

It also saves time when they ask you if you have a beltier song and you say, "I have 'No Man Left for Me' " and then the pianist has already flipped to it and gives you a nod...SAVES SO MUCH TIME AND THEY LOVE YOU!!!!

[opheliarose]

These "never sing this, never sing that" lists crack me up. When you eliminate half the genre, your nice "obscure" song will suddenly be overdone, too!

[jazzygirlsings]

LMAO! SO TRUE!

And then what's "overdone" suddenly becomes "obscure!"...

Those lists are CONSTANTLY changing!

I used to sing "Home" from Maury Yeston's "Phantom", but now it's WAY TOO overdone! I used to have pianists say, "What is that song? It's great!"

[MaryMag]

[broadway_baby416]

The thing is, some of the songs on those lists I've never even heard of! My trick is to get books of collections of songs (rather than songs just from one show) and then in there I can guarantee there will be songs from unbelieveably obscure shows. Like once, I got this really great up-tempo for a legit soprano from a show that hasn't been on Broadway in about forty years. Definitely not overused!

But it is funny how those lists are always changing. Two years ago, I sang the song "Memory" from Cats at an audition. People knew the song, of course, but because it was a community theater people didn't sing it much...thinking it was too overdone! In the end I got the lead! So don't set too too much stock by these lists. Just use common sense!

[SunshineFace]

Bumping this because it's very useful!

[Kaaatrina]

Thanks for posting this!! It's really helpful

[jazzygirlsings]

Who can we contact to sticky this? Many people have said it's pretty helpful...I don't hear any objections...

[MaryMag]

the Great Game Just Started thread too, where we ask a question and answer a question, should be stickied too i think.

[jazzygirlsings]

Yeah...or at least referenced in this thread...

[MaryMag]

[MaryMag]

Just reading this on a site that does extra casting work, but some of it is basic auditioning etiquette.


What are some of your pet peeves?

When actors call our office before doing research and reading these questions. When actors don't bring the right amount of headshots to an audition or don't attach the resumes. Actors who don't look like their pictures. Actors who have had the same headshot for over 2 years. When actors block private numbers so that we can't call after hours without revealing our home or personal phone lines. When actors hit last call return and call a number different than the one we asked them to call in the message. When actors call our personal cell when they were not asked to. When actors expect us to drop everything to answer their career questions. When actors are late or don't show up at all. When actors make up lies about being late or not showing up.

[jazzygirlsings]

^You would be surprised how many people make those mistakes! LOL!

[jazzygirlsings]

Okay...I just wanted to add this, for those of you that would like to land an agent...

If you decide to post on www.imdb.com, make sure it's for credited work! Nobody cares if you were an extra...It's hilarious looking at the different things extras called themselves so they wouldn't look like extras. Here's a perfect example: http://www.imdb.com/title/tt0758766/fullcredits

Look at how many people called themselves "concert goers" or even tried to act like they were more important than they were with "class reunion drunk"....

It doesn't take a genius to see that you were just an extra...

In fact, I just took a workshop with Judy Kerr (author of "Acting is Everything") and she said that anymore, even listing "featured" under your film credits for certain projects can be mistaken for extra work because that's what extras are trying to do to get ahead these days...

[badprncess]

This post has a lot of good info, thanks so much!

[MaryMag]

[jazzygirlsings]

This should be bumped...and I'm writing a PM to the mods...Please guys, I would suggest you do the same so that this gets "stickied"...

Jazzy

[jazzygirlsings]

Reference for help with acting a monologue for an audition:
http://www.musicals.net/forums/viewtopic.php?t=54366

GREAT thread about how to find a monologue for auditions
http://www.musicals.net/forums/viewtopic.php?t=54642

[MaryMag]

Headshot DOs and DONTs

Found at: http://theater.about.com/cs/jobs/a/headshots.htm

DO
Print or staple your resume to the back of your headshot. I've been told that casting agents prefer you staple the resume using four staples, one in each corner.
If you are stapling, trim your resume to fit the headshot. You do not it want to look sloppy.
Make sure your headshot looks like you, perhaps a better, more glamorous you, but still you. I've had directors not recognize the headshot and not remember the person's audition.
Make sure the head shot shows your face. I've seen headshots that are so close-up, it's hard to see the whole person.
Make sure the contact information on the back is up-to-date. Create an email address just for your acting resume. MaryMag's special advice: assume that the company you're auditioning for is very professional and don't use an email address that says something like "ilikemasturbation@yahoo.com." I've seen it done. Further, it's not very professional to have some disgusting song like "I like Big Butts" playing on your voice mail. Drives me effing insane when I have to call people, listen to that sh*t, and then tell their voicemail, "Oh we're SO excited to have you join our Children's Theater company..." *one more thing - DOUBLE, TRIPLE, QUADRUPLE check that your contact information is correct. I've missed out before because I accidentally wrote a 3 in my phone number that should have been a 2.
Have at least five copies with you when you go to auditions. You never know who will want them.
It's pretty easy to create and print resumes, so if you have a lot of experience, why not make three different ones. Have one that focuses on theater, one on film and one on commercials to take the appropriate audition.

DON'T
Lie about your experience.
Make up special skills or write things down just so you fill in the special skill area.
Have a resume that is larger that 8 ½ x 11. An oversize headshot won't fit in a standard folder and will probably just get thrown away.
Have a resume that is more than one page. If they want more information, they will ask for it.
Staple reviews or clippings to your resume. They just get in the way.
Make the type smaller than 10 pt. If you have that much experience, edit it down. If your resume is cramped and hard to read, no one will bother.

Headshot FAQ's
quoted from http://www.artistikvision.com/services/faq/headshotfaq.html

Question: How important is the headshot to the actor?
99% of the time, the actor will get the interview through their headshot. So, it's pretty obvious that the actor needs a good one. Or, more accurately, a great one. Show business is too competitive to attempt to break into it with a cheap and unflattering headshot.

Question: Which is better? A 3/4 length photograph, or headshots?
There seems to be an ongoing debate on this subject. Some folks seem to think that one style is better than the other, but I disagree. I feel both are useful for different applications. That's why I always shoot both styles in every session.

Question: There are many different kinds of photographers doing headshots for actors... which kind should I select to do my next headshot?
There is a dizzying array of photographers in the marketplace claiming to do good headshots. It is extremely important to know that there are two basic groups of photographers doing the majority of headshots today. There are the Fashion/Print variety who, as the name implies, specialize in shooting models for clothes and catalogs. Then there are the Theatrical/Headshot variety, who specialize in photography for performing artists. What every actor should realize is, THEY ARE BOTH TOTALLY DIFFERENT IN TECHNIQUE, APPROACH, AND EXPERIENCE.
A typical fashion photographer knows absolutely nothing about what is needed to successfully market an actor, much less what the acting process is all about. And the average headshot photographer is woefully ill-equipped to shoot vastly different fashion layouts. There may be exceptions to this rule, but they are few and far between. Would you go to a brain surgeon to have your teeth drilled? Probably not. But I routinely see actors having their headshots done by fashion photographers who know nothing about what the typial actor requires. How can you tell if you're looking at a fashion, or a headshot portfolio? Simple. If you see nothing but perfect, gorgeous men and women wearing fashionable clothes looking back at you, you can bet your union card that this photographer is a fashion expert. My experience says, look for someone else.

Question: How does the actor choose the best photographer?
Here's a good place to start: Compile a list of the photographers that you want to see by asking fellow actors, agents, managers, acting coaches, and casting directors. Then make an appointment to see their books. Only by actually visiting them in person can you make a truly informed decision on whether or not you want to shoot with them.

Question: What about price?
This is the number one most commonly asked question by actors. Their first question should be, "How much is your career worth?" Price is an important thing to consider, since most aspiring actors aren't all eccentric millionaires. You could always go with the cheapest photographer you could find, but you could also be throwing away an entire acting career - yours. You've probably heard the phrase, "You get what you pay for." Not always. I've seen scores of actors spend exorbitant amounts of money on so-called "Superstar" photographers only to have their expensive new headshots wind up lining a casting director's trash can. That doesn't mean that going to one of those bargain basement photographers is any better. That could virtually guarantee you a lifetime of waiting tables and doing extra work.
Cost doesn't really mean much, quality does.

Question: What are some additional things to look for when selecting a qualified headshot professional?
Even before you look at a potential photographer's book, always ask him if he uses Polaroid test shots prior to shooting. If the answer is "No," I'd simply walk out of this studio, no "ifs ands or buts". Why? Because no self-respecting professional would ever take a headshot without them, period. That would be like having major surgery without getting X-rays
taken first. Less expensive, but extremely foolhardy. The only plausible reason for not using Polaroids is that the photographer is either too ignorant to know better, or too cheap to include them in your shoot, both of which are pretty poor alibis not to use them. My studio is now fully digital, which has totally eliminated the need for Polaroids. You can see your new headshots in seconds.

Question: Which is better, Natural Lighting or Studio Lighting?
The answer to this question, in my opinion, would be the first thing that would determine whether or not I'd use any photographer. Why? Because lighting is the single, most important element in creating a great photograph. Whatever else a photographer does right, if the lighting isn't perfect, your photograph will suffer. I believe that Studio has Natural lighting beat by a substantial margin. There's a huge difference between the two, and when compared with a good studio shot, there is no comparison. "So why," you may ask, "do so many headshot photographers shoot with natural light?" Mainly because they either cannot afford to buy the expensive equipment required to take great photographs, or they simply don't know how to use studio lighting. It takes an enormous amount of time, money, and experience to use studio lighting effectively. Why should they have to take all that effort, when they can just open a window, or take you up on the roof and let the sun do all the work for them? Try this easy test: Simply compare a headshot done with natural light, beside one done with studio lighting. The differences are immediate and dramatic. Everything being equal, studio shots are vastly superior to those done with daylight only. Just ask anyone who is sensitive to bright sunlight, or someone who has nearly frozen to death on a frigid day, or roasted under a blistering summer sun. And just try to shoot your next headshot in the dead of night, in a snowstorm (which I've had to do)! It just isn't possible using natural light. When you compare the hundreds of headshot examples at my studio done both ways, I think that you'll agree. When it comes to creating dramatic, reliable results, studio lighting wins, hands down.

Question: Okay, I've put together that list of great photographers that I want to see. How can I determine who's the best?
With all of the photographers out there all claiming to be "The Best," it can be a confusing and sometimes frustrating experience. I know. I've been a Hollywood actor for more years than I'd care to count. But with all the choices available today, you can't possibly see them all. Or can you? Most actors will typically visit one to six photographers before making a final decision. In my years of shooting actors' headshots, I've compiled the work of over 1,000 of the top photographers in the world, so you can compare my work directly with the best headshot professionals in the industry, all at one time, all under one roof. I try to eliminate the inevitable confusion that most actors encounter while choosing a competent headshot photographer, by utilizing the only tried-and-true method of determining a photographer's ability – an honest, side-by-side comparison.

Question: Okay, I've put together that list of great photographers that I want to see. How can I determine who's the best?
If a photographer offers to give you ownership of the negatives, don't just walk away, run! He's not doing you a favor, just the opposite. He's doing you a huge injustice. Taking your photograph is just the first step in a multifaceted and often very complicated process. If your photographer isn't willing to help you to get a perfect, ready-to-submit headshot into
your hot, little hands as part of the purchase price, he's not a true professional, he's someone who desperately wants your money and will do anything to get it, up to and including giving away all of his work. Steer clear. I hope that these guidelines will be of some use to you in your search for that "perfect" headshot. Best of luck to you in all of your career goals.

[jazzygirlsings]

A GREAT resource on musicals! It gives synopsis, etc. for a TON of different musicals that you may not be able to find elsewhere on the web!

http://www.musicals101.com/contents.htm

[MaryMag]

I love this site too:

http://www.musicaltheatreaudition.com

For so many reasons I can't list. But dig around there. You'll see why I like it.

[jazzygirlsings]

^I second that one...I often give links to it...

[kakoforever]

So I'm loving this thread, its very helpful.

I have a question about credits.

I'm a freshman MT in college. So far at school, I was a featured dancer in Giulio Cesare (read: the only kid in the opera who could dance), I'm currently a featured dancer in Candide (same director as Giulio Cesare), and in the spring I will be ensemble in Romeo and Juliet (drama department for a change).

I've done three community theatre shows before college, all with roles, and a couple summer projects involving the Kennedy Center Theatre Lab. I have no paid professional credits.

Should I put my high school credits on my resume, or does that look stupid? Otherwise I have like 4 credits.

[jazzygirlsings]

Honestly, for awhile when I was auditioning in the "real world", I did have high school credits on my resume.

They will see that you're young and honestly, we all have to start SOMEWHERE!

With all the work/performances you'll be doing in college, those HS credits will disappear in NO TIME!

[jazzygirlsings]

OMG! THEY FINALLY STICKIED THIS THREAD!!!! OH THANK YOU, MODS!!!!

[MaryMag]

wow. i feel neat.

[Bianca.]

[jazzygirlsings]

After sitting in on auditions last night, I was reminded of many bad habits 90% of actors have when they deliver a monologue...(Some have a combo and some do just one of these things, but be aware!)

"The Stance"

...This is usually done by men. They stand in an almost perfect ballet second position, with their elbows kinda behind them or glued to their sides...It's awkward and I'm sorry...it looks ridiculous...

Accents that you might not be aware of

...I can't tell you how many auditioners went from having normal conversations with us beforehand, to going into some fake-y accent! Whether they went into the "I'm speaking Standard American English now" voices or whether they just slipped into a New York accent that wasn't called for in this piece, etc. they lost me by the first line because it already felt fake.

FOCUS

...I want to see people's eyes! So many people came in and either played to a chair or played slightly offstage right or left...IT MADE ME ANGRY! LOL! Seriously, you should find your focal point just above the casting team's heads, but not include them as your scene partner...you can ask them if that's okay...I see no problem with that...ESPECIALLY if it's a play like we were casting last night, which was audience interactive! That's when I REALLY want to see some expressive eyeballs!

Finding Your Light SO MANY ACTORS stayed in the dark last night! This is YOUR time! Come to where you are comfy...IN THE LIGHT! We want to be able to see you! PLEASE ask if you are in the light if you aren't sure!

Distance from the Casting Team When Performing

One guy was totally at the back of the room. When we asked him why he was so far away, he said his teachers told him to be as far away as possible...UMMMM...WRONG!!!!!!!!! LOL! So we had him come right up to the table and perform his monologue more like a conversation...and whatd'yaknow? He was brilliant! LOL! Then we helped him find a comfy spot to perform the first few lines for us again...and he thanked us profusely! It should be a few feet away, if you're in a studio...not all the way across the room...Many times, the casting team will have an "X" on the floor, which helps you find your space...

On the other hand, we had quite a few auditioners who infringed upon our space...One guy threw a paper airplane for dramatic effect and it landed on the table in front of one of my associates as she was writing notes. To say she was a bit put off by it would be an understatement! LOL!

ENUNCIATION!

I know when you get to an emotional "high", you feel the need to talk really fast, but make sure your words don't get the better of you. It comes out like garbledigook...I can't tell you how many monologues I was like, "What did he/she just say?" And screaming for the sake of screaming doesn't help me to understand you any better, either!

DON'T PLAY THE EMOTION!

ACK! Another big problem last night...One guy was playing his monologue angry and there was no urgency/no reason to do it that way. When we asked him what he was thinking about/who he was talking to in the monologue, you could see that the lights were on and nobody was home...DO YOUR RESEARCH, people...have a journey to your monologue and most importantly, a reason to say it! Why do you have to say what you have to say at this point in time? What is your moment before? Ask these questions!

IF YOU MESS UP

Keep going! Don't stop! If you get the gist of the monologue, oftentimes, it will go unnoticed...(Unless the monologue's SUPER overdone!) Just keep BREATHING and keep going.

KNOW THAT WE ARE ON YOUR SIDE

I want my next character to walk in the door! Don't be terrified...

Breathing is the most important thing. If you forget to breathe, you hold in tension!

One guy was so nervous, we just asked him not to do his monologue and tell us a funny story. (He was obviously a newbie to auditioning.) My associates were very understanding and gave him some advice in the future...mainly to BREATHE! And he was genuinely appreciative of our advice!

That's it for now! I will let you know if I forgot anything! LOL!

And read Audition by Michael Shurtleff! PEACE OUT!

[MaryMag]

[jazzygirlsings]

And another thing...last night I heard so many "yelling" monologues...seriously...

After awhile they all sound like that teacher from Charlie Brown!

[shadowdancer]

true about the yelling monologues. A lot of time people do not realize that angry does not automatiocally mean yell

[jazzygirlsings]

^So right!

Honestly, I'm much more interested when the anger is suppressed...there's something much more interesting about that choice. To yell is too easy.

[MaryMag]

[MaryMag]

The casting process at my high school is so unfair! What can I do?

Thank you to Francois for phrasing this so succintly and politely!

[Salome]

you need ot let the piece guide your emotions..not put your emotions onto the piece.

[jazzygirlsings]

[MaryMag]

[MaryMag]

What song should I sing for my audition?

This is probably the most often asked question in the audition forum, I think! I am not perfect and do not believe that I can tell you EXACTLY how to pick the perfect audition song, but I can tell you a few things you need to do in order to pick a good song.

1) KNOW THE SHOW. Listen to the music and look at the music. Get an ear for what it is and what it isn't. Is it a rock musical? Jazzy? Operetta/more legit? Look at the sheet music too - you'll find there's a lot you're missing by just listening to the CD. I know I was totally surprised to see how challenging Into the Woods was after just singing along to the CD for years. The score will show you specifically what things are going on musically - whether it is things as complex as time changes or frequent accidentals, or something as simple as the vocal range of the character you're auditioning for. Recordings can be deceptive here - some singers sound like they're singing higher than they are and vice versa.
2) KNOW THE CHARACTERS. You can find their ranges by looking at the score or visiting stageagent.com, mtishows.com, or musicaltheatreaudition.com. You can also find the descriptions of them at these websites or in many other places - but you should already know what they're like from listening to the CD and reading the script.

The goal of your audition song is this: to make it as easy for the casting directors as possible to imagine you playing the role.

Therefore do not pick songs that make it HARD for the casting directors to imagine you playing the role!

You've done your research - you know the musical style of the show, the range of the character, and the personality of the character. Now you are going to find a song that is as similar to those things as possible. You're going to find a song that uses the same musical style, range, and is sung by a character with a similar personality/in a similar predicament.

To find a similar musical style: very often you can look at other musicals the same composer wrote. If you're looking for a Rodgers and Hammerstein sounding show, why not audition with something from another Rodgers and Hammerstein show? You can also look at musicals from the same time period. Eg: if you're auditioning for Crazy for You, you can be pretty sure that Hair (a musical from several decades later) is not going to be a similar musical style. To some extent, you can research the actor who played the role you want and see what other roles he/she has done - very often their roles will center around a certain vocal style. Eg: Linda Eder doesn't have Gilbert and Sullivan on her resume for a reason - it's not really her vocal style.

To find a similar range: look at sheet music. Beware of looking at "vocal selections from..." books. They're not always in their original keys. Where do you find sheet music? Your local city or universtiy library. (MaryMag has been known to go to college libraries she does not actually attend to photocopy hard to find music.) If the library doesn't have it, talk to your friendly librarians about an inter-library loan (this takes a few weeks, usually, so have extra time.) Or you can try to purchase sheet music online through www.sheetmusicplus.com or www.musicnotes.com or many other places.

To find a similar character: look at lyrics. I found (what I humbly think is) a great parallel song for Luisa in the Fantasticks by reading the lyrics from a song from Plain and Fancy. The Plain and Fancy song's lyrics sound exactly like something she'd say - something about rebelling and being bad and going out on the town cuz her love interest is not going to find her at home waiting for him, though it's clear that the girl singing it is not the Rizzo type, but the super super wholesome type who still has wholesome ideas of "rebelling." Also expand your knowledge of musical theater. Attend shows. Watch movies. Remember characters that remind you of other characters, or at least share some basic attributes - like they both get dumped or they both distrust men or they both love their daddies, etc.

Part I of MaryMag's novel on picking a song is over. You can tell I'm not getting much done at work today!

[southernsweetie23]

I'm real new to the auditioning process. Should you look at the casting directors when your singing? Also, what makes for a good headshot (Black and white, color, Closed teeth smile, etc....)
Thanks!

[MaryMag]

[Emmyv05]

[southernsweetie23]

[BringMeToBroadway]

Well, after many reccomendations (mostly from this thread) I bought Audition by Michael Shurtleff and How To Audition For Musical Theatre. I have to say, I'm in love. I've only read to page 63 in Audition (and none of the other one, who can pull themselves away from Audition to start ANOTHER book?) and it's amazing. I really REALLY want to thank everyone here who recommended anything. These books are amazing!

[jazzygirlsings]

[jazzygirlsings]

[Eponine93]

[jazzygirlsings]

[BringMeToBroadway]

The most valuable thing so far is always reach for the most emotional commitment to the relationship. Or, at least, I guess that's how I'd word it. The "there is love in every relationship, and you have to find it and and fight for it" complex is really fascinating. That there's humor in every scene, no matter how serious is interesting too.

I just find all of the relationship stuff really helpful. This book is amazing...

[jazzygirlsings]

[BringMeToBroadway]

I really wouldn't mind if it was required reading at all! It's a really interesting read, not boring at all.

The novels we read in school are 20 times worse than this. I really enjoy this book.

Yeah, I have a feeling this book will severely improve all of my future acting.

[BringMeToBroadway]

I've never needed an actual resume (that they didn't give me a form to fill out) before now, and I'm stuck making them up for my friends too, because they're even more lost than I am.

So far on them I have each person's name, Contact Number, email address, height, weight, hair color, eye color, vocal range, age, previous productions, training and special skills. I found a layout thing from a google search that sent me to about.com; which I used for all of them. I know it's kind of sad, but I'm totally lost. Sorry!

Is there anything I'm missing?

[Emmyv05]

I don't tnink so. I'm working on mine, and that's all mine has on it too.

[Emmyv05]

[quote="jazzygirlsings"]

[jazzygirlsings]

^LOL! Everyone seems to find that funny, but it's true! I've been on the other side of that kind of thing. I turn 80 shades of red and then am so flustered I forget about what/how the person actually performed!

[jazzygirlsings]

[BringMeToBroadway]

Okay, thank you so much! I will most definately use those suggestions next time! THANK YOU!

[kythca]

Okay.

So i have learned a lot from this site about auditions, a lot of things i did not formerly know. And i am very much appreciative to those of you who have offered your amazing help to those of us who've needed it!

However, i have a question...

I now know that i should chose a song to sing that is relevant to the character i am auditioning for. And to...

[jazzygirlsings]

^Honestly, I would not say anything and just do the song.

Take the risks. Make strong character/acting choices. Commit to those choices 110%. Those are the auditions that stand out. Make no apologies. Show them something they haven't seen before...

No need to explain it because they will see all that you are trying to say through your performance. Surprise them.

It's simple, really...and besides, they don't have the time to listen to you explain why you chose this song, etc...

[MaryMag]

[jazzygirlsings]

I would honestly take my materials to those smaller auditions, just in case...and see what the majority of people are doing...Even ask the monitor, as they're usually pretty upfront about what you need...

[MaryMag]

I'm auditioning for High School Musical! What do I sing?

Since this question has been asked SO OFTEN, I decided to put up a little post addressing this musical specifically.

MTI's summary:
http://www.mtishows.com/show_home.asp?id=000304

MTI's list of characters:
http://www.mtishows.com/show_casting.asp?ID=000304

MTI's song list (what each characters actually sings):
http://www.mtishows.com/show_songs.asp?ID=000304

stageagent.com's page for the show:
http://www.stageagent.com/shows.php?id=1628

stageagent.com's exhaustive plot summary:
http://wiki.stageagent.com/more_show_info.php?id=1628

an allexperts.com suggestion for audition songs:
http://en.allexperts.com/q/Acting-Plays-Singing-695/High-School-Musical-Audition-1.htm
another one:
[url]http://en.allexperts.com/q/Acting-Plays-Singing-695/Auditioning-HSM.htm [/url]
and a third one:
[url]http://en.allexperts.com/q/Acting-Plays-Singing-695/High-School-Musical-Audition.htm[/url]

Musicaltheateraudition.com suggests you sing a song from a pop musical. Here is a list of pop musicals:
[url]http://www.musicaltheatreaudition.com/shows/1showlists/popstyle.html[/url]

In the audition song thread, suggestions have included looking at Fame, Big, Mamma Mia, and other pop musicals. MaryMag has been known to suggest you sing a pop song, as the composers of this musical did virtually no musical theater writing prior to HSM.

There. Now you cannot ask for general info on High School Musical or on picking a song. If you do have a question, I expect it to be intelligent and informed and not something you could have easily found out here!

[southernsweetie23]

I'm really frustrated.


There is a huge performing arts high school in our city, and every theatre is biased, and casts all of them for their shows.

How am I ever going to get experience if I never get cast for anything?

[MarlissaZ5]

for martha, i'm a mezzo soprano i believe, and i'm 17. i was wondering if somewhere over the rainbow would be a good song to sing for the audition.Thanks!

[jazzygirlsings]

^This would be best posted under the "Audition Song Thread"...

We established this thread to cover everything else...

Welcome to the boards and we look forward to learning more about you!

And southernsweetie...I really didn't have much theatre experience until after college!

That's because I lived in a cultural wasteland! LOL!

So I guess what I'm trying to say is just be patient!

[MarlissaZ5]

ok....i hope this is the right place to ask this question lol. does anyone know how to speak yorkshire? Thanks!

[everdancing]

I'm honestly not sure if I should post this in this thread or not...
Anyways, I have an audition coming up for some Shakespear stuff, and my question is, is it more professional to pick my monologues from other shakespear work, or just from other shows? The lady I talked to said it didn't matter where is came from, but what is more professional?
By the way, this theatre only does Shakespear stuff.
Sorry if that doesn't make sense, I'm really tired and my mind is off in whereve