Page 15 - Classical Singer Magazine November/December 2019

For those that are still working to build your audition repertoire—or what, in the musical theatre world, we call your audition book—here are some things you can do to help you choose audition repertoire and build your book.
Follow the Instructions
For anyone going into an audition it is important to
know what is being asked for in the audition notice. Read the instructions carefully so you can show up prepared to sing what
the directors are looking for. Most audition notices are asking for something in the style of the show, which means that casting directors want to know that you can, for example, sing the legato line required in a golden age show or that you know how to stylize pop/rock music. They also want to see that you can present the same dramatic style. So, generally, you are looking for songs not from the show you are auditioning for but songs with a very similar musical and dramatic feel.
Do Your Homework
Before going to the audition, get as much information as you can about the show. Listen to
the album and read the script if possible. At the very least, read the synopsis.
You should know which character you type into and then learn as much as you can about that character. Know all the
songs that this character sings. Understand their story and their emotional journey throughout the show. All this work will pay big dividends if you get a callback because you will already be familiar
appropriate, music you love to sing, and something you can sing even when sick.
If you don’t already have a song that fits these criteria, then look for songs from shows written in the same time period as the show you are auditioning for. Find out what other shows opened that year and what shows opened the
with any material you may be asked to perform from the show.
Choosing Repertoire
Once you have learned all
you can about the show and the character, then take a look in your audition book to see what you already know that is most like the musical style of the show and the story of the character you most relate to. This is with the assumption that the music you have in your book is age
few years before and after. This generally helps you find something in the same musical and dramatic style of the show, but not always. Sometimes a contemporary
show is written in a more golden age style. Shows like Thoroughly Modern Millie, The Producers,
and 42nd Street, although written and produced after 1960, are not technically contemporary musical theatre because they sound
more like golden age shows than contemporary shows.
“. . . the most important preparation for any musical theatre audition is knowing who you are and what your storytelling skills are. Then you can con dently walk into the room and use these skills and your creativity to tell a story about human experience.”
DAVID LEISNER
Theodore Presser Company presents TWO new collections for voice and piano.
Search YouTube for “Leisner Selected Songs” for live recordings of all 12 songs.
Available wherever you buy print music.
ENJOY YOUR VOICE
Osceola Davis
Lyric Coloratura Soprano Metropolitan Opera
voice instructor /operatic interpretation Private lessons / vocal consultation
(718) 796 7195 or Odavissmith208@optimum.net
www.csmusic.net 15