As illustrated by 半岛体育鈥檚 Schools of the Stars column and the annual Big 10, undergraduate programs at colleges and conservatories offering degrees in the performing arts have hit a boom鈥攁nd with good reason. Just as it behooves a future accountant to be an accounting major, it makes sense for artists to study their craft, its history, practical techniques, and more before entering the world of professionals.
But all agree that this process is about showing who you are and revealing your potential, rather than your perfection.
Getting organized
鈥淢ake a spreadsheet with all of the info for all of the schools that you are auditioning for. I am talking: NAME OF SCHOOL, DATE OF AUDITION, DUE DATE OF PRE-SCREEN, MUSICAL PIECES NEEDED, ACTING PIECES NEEDED鈥攁ny info that you need to keep track of.鈥�
鈥擬arc Tumminelli, founder of as well as the non-profit which provides scholarship funds for youth performers. He adapted the book, music, and lyrics as well as directed the development workshops for the school editions of Zombie Prom, All Shook Up, Curtains, Spamalot, and more.
Choosing material
鈥淐ollege auditions are still figuring out what to ask for and it鈥檚 very stressful. If a school doesn鈥檛 ask you to sing a pop/rock song at their audition, or there isn鈥檛 a 'wild card' option where you can bring in pop/rock if you feel strong in it, that doesn鈥檛 mean they鈥檙e not going to ask you for one in the room. They want to hear it. Have a pop/rock audition cut mastered in your book, ready to rock anyway! I鈥檝e sat in on Unifieds and many young performers get asked for it鈥攔ight there in their audition. And they were not ready for it!"
鈥�Sheri Sanders, actor and pop/rock coach, author of Rock the Audition, now an online rock musical theatre training program allowing professional performers and coaches, MT programs, and teens-to study directly with Sanders from every corner of the world so she can act and teach. Sanders also arranges audition cuts on Musicnotes.
Types of songs that work well and don't work well
"Songs that are immediately actable; songs that you connect to personally; songs that are in the 'sweet spot' of your voice; songs that make you feel powerful and grounded; songs that are written for people your age; songs that are open or exude joy; songs that can teach us about you in some way; songs that are about change or embarking on something new; songs that have an epiphany in them; songs about helping other people in some way.
"Songs that have repetitive lyrics and notes do not work well; songs about an experience that you cannot relate to or empathize with; songs that are a pity party; songs that are out of your range or vocal style; songs that don鈥檛 have a dramatic narrative; songs that require 'high comedy'; songs that have non words in them; an aria or songs from operetta (unless requested ); the newest song that no one has heard; songs that have a lisp or accent; songs that identify you as crazy; songs that tell me you are a star."
鈥�Amy Rogers Schwartzreich, director and founder of the in New York City and author of forthcoming book The Ultimate Musical Theater College Audition Guide: Advice from the People Who Make the Decision (out February 1, 2019).
"Choose more material than you need. By the time auditions come around you should have at least four monologues and six songs. Keep in mind that you鈥檙e going to be traveling around the country to audition so make sure you have songs that you can sing even if you鈥檙e sick or have allergies. We call those pocket songs. You should be able to pull these out no matter how you鈥檙e feeling.
"Read the plays that you choose pieces from. Know the shows you鈥檙e choosing music from. Be prepared to discuss the composers, shows, or playwrights if asked. There鈥檚 nothing more revealing than asking a potential student about a show that they鈥檙e singing a piece from and they don鈥檛 know the show."
鈥� undergraduate drama NYU Tisch School of the Arts, founder/musical director/arranger for Broadway Inspirational Voices, and Broadway performer.
"If you are not 100 percent certain you鈥檒l hit that note, choose a different song. We love a wide range, but we also love when you hit the right notes. And choose material that is extremely personal that you can have a real connection to. Then find a teacher or a coach or a friend that can run through that material with you over and over to ensure that you鈥檙e being completely honest and open."
鈥� at Pace University's School of Performing Arts and former instructor at The New School of Drama and NYU's Playwrights Horizons Theater School, Broadway and television performer.
Auditions
"Remember that auditioners are watching you from the time you arrive. Stay focused in the waiting rooms. Don鈥檛 get lured into endless conversations with others. Don鈥檛 be so well-rehearsed that you can鈥檛 take direction鈥攏o matter how wacky the request. We want to know if you can play and take adjustments."
鈥擬ichael McElroy
"Don鈥檛 ask for permission. 'Can I use this chair?' 'Is it OK if I stand here?' Take control and do what you need to do. Grab that chair and do the work. What this says is that you are an artist who is certain of themselves."
鈥擭edra McClyde
Choosing a program
"We鈥檙e not only auditioning you, you are auditioning us. How you鈥檙e treated from the time you walk in and are greeted, to your time in the room auditioning, until you leave tells you about the program you鈥檙e auditioning for. Pay attention. Are folks pleasant or distant? Cold or encouraging? That鈥檚 information you can use to figure out if that program is the place for you.
"If you can, and I know it鈥檚 expensive, once you have narrowed down schools go and visit. Just because a program is well known does not mean it鈥檚 the right program for you. When you go to the campus and sit in on classes, you will know if it鈥檚 where you鈥檒l thrive."
鈥擬ichael McElroy
"Look to see what opportunities there are beyond the season鈥檚 productions. Student directing programs, chances to work behind the scenes, mentorships, and internships are all great, and be sure to look for a school that has a design/tech program and get involved. Theatre artists need to be as well rounded as possible, as putting on a show is an ultimate example of teamwork. Knowing what everyone does on a production will only help you respect each other and work better together when you enter the professional world. Also, see if their faculty continues to work professionally, and/or if they bring in guest artists鈥攖he profession changes so often, it鈥檚 crucial to know what鈥檚 happening in the business today."
鈥�, artistic director of headling programming for BroadwayCon, and producer of Living for Today concert series
