Theatre Auditions




How To Audition
My Audition Goal
Kinds of Theatre Auditions
Theatre Audition Questions
Dressing for Theatre Auditions
Selecting Audition Monologues
Rehearsing the Audition
Performing the Audition
Singing Auditions
Sample Monologues
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Singing Auditions

NEVER NEVER NEVER NEVER sing if you wonder whether you can. 

Just because God created everyone with a voice doesn’t mean that He intended everyone to sing in an audition.  Everyone can sing; but not everyone should sing onstage.  And just because “ you really really have always dreamed about singing” doesn’t mean anything either.  Just because your mother loves to hear your voice doesn’t mean the rest of us will. 

Singing, like acting, takes relentless practice, informed and competent instruction, and limitless experience.  Find someone whose opinion you can trust.   Sing for them and ask if they would pay to see you sing on stage.  Watch their eyes as you release the question.  In that first millisecond you will know the truth.  Does this mean you have to be an opera star to sing in an audition.  Of course not.  But remember, singing in an audition proclaims to the directors that you are a trained experienced vocal professional.  Any sound coming from your lips that betrays that professionalism dooms your audition.   

NEVER NEVER NEVER NEVER NEVER sing without an accompanist, either tape or piano. 

Fundamentally we need to know whether you can match pitch and keep a tempo.  Very few musicals ask you to sing without an accompaniment.  How can the directors make decisions about your pitch and tempo if you are singing by yourself.  Also to not have music, a tape, or pianist makes you look unprepared and unprofessional.

Belting (singing) often makes me think that you are trying to make up in volume and performance energy for what you lack in vocal technique, experience, and training. 

Belting seems to be an unpleasant trend in auditions these days.  And I’m not sure why.  Performers seem to believe that belting demonstrates stage presence, energy, and vocal power.  Belting emphasizes the flat mid-range of the human voice.  I find belting loud, harsh, flat, lacking in variety, and frankly unpleasant. 

Controlled sustained voices demonstrate training, experience, and artistry.  If the performer has a well trained and experienced vocal instrument, they can easily belt.  Because the performer can belt doesn’t mean that they can really sing.  I have been burned too many times by casting a “belter” in a musical lead.  I believed that the performer could compensate in energy for what they lacked in vocal training.  It never worked.  Singers require constant, relentless, and  limitless training.  If you are serious about singing, start your voice lessons and never stop.      

Not every song needs to be danced!

Fewer motivated and completed gestures are far more effective in musical blocking than too many fast, frantic, and incomplete movements.  Match movement to idea.  Complete the idea and the movement at the same time.  Movement and idea must share same spirit; movement and idea are a single entity/action. 

Remember that your pianist is sight reading your music; consider this when picking your audition song.

Like it or not, the quality of your singing audition results from your work and the pianist’s work.  Remember also that not all pianists are created equal.  Some have excellent sight reading skills; some do not.  Cover yourself.

Never blame your accompanist with your expressions.

The young lady had a lovely voice.  The accompanist was accomplished.  Unfortunately, the musical selection had many signature changes and tempo changes.  The audition performance felt out of sync.  Throughout the audition, the young lady glared at the accompanist with that “its all his fault” look. Right or wrong, I resented her selfishness and sided with the accompanist. 

If you want to sing on stage, start private voice lessons now and don't ever stop.