What's in your audition book?
What's supposed to be in your audition book?
What are you doing????
Well, if you book weighs about 7,000 pounds, you are probably a MT student freshly graduated from a program. A dead giveaway.
I am going to let you in on a little secret:
In the real world, you do not have to micro-manage your audition repertoire. You learn how to do that in school in order for you to LEARN what is being written, who is writing, who wrote, what they did, why they did and actually have some knowledge of what the overview of music theatre is; but in the real world? For your audition book?
NO WAY.
First, and foremost, how are you singing? Where is your technical development at?
You can't sing something that doesn't fit. Period. You may LIKE to sing it, but if it doesn't fit, and doesn't reveal YOU in a positive and intriguing way, or allow you to tell a story without us seeing flaws and misunderstandings in technique both physical and stylistic, then do not sing it. DO NOT SING IT.
Another little secret: in the real world, you don't go to EVERY audition. Just to be seen. You only go to the auditions that you are right for.
If you know the shows and kinds of shows you are right for, then you know what you need to look for within the massive repertoire of music theatre and other genres that reveal YOU and YOUR STRENGTHS.
You can have binders and binders of music at home on a shelf that you are perusing, that you love to sing, that no longer fits, that may someday fit, that you want to try.
Then you have your audition book. Everything in that book should be ready to sing, if asked for. EVERYTHING.
Uptempos, ballads, different genres, different eras, but everything that's in there you have to sing.
If you think you can sing all genres - give your head a shake.
You need to figure out what you do WELL. What your voice is doing NOW. What you could be seen doing realistically.
Then figure out what repertoire reveals that fully without question. Don't make them try to figure it out. SHOW THEM what you DO.
If you aren't clear, they aren't clear. If they aren't clear, you don't get a callback, or consideration, or a second thought.
Know what you do. Figure out what you CAN do. Do it.
You shouldn't need a forklift for that audition binder. It should be light and easy to access.
When you sing what reveals you and those at the table say "thanks, what else do you have?" you should be able to easily reveal another aspect of you immediately.
If you can't, you aren't ready yet.
Get ready. Make it your mission to discover what your voice does, how to make it more accessible, and how you can reveal your strengths in the room IMMEDIATELY.
YOU. YOUR book. Make it personal, and make it accessible. Make it comfortable. Make it real.
What's supposed to be in your audition book?
What are you doing????
Well, if you book weighs about 7,000 pounds, you are probably a MT student freshly graduated from a program. A dead giveaway.
I am going to let you in on a little secret:
In the real world, you do not have to micro-manage your audition repertoire. You learn how to do that in school in order for you to LEARN what is being written, who is writing, who wrote, what they did, why they did and actually have some knowledge of what the overview of music theatre is; but in the real world? For your audition book?
NO WAY.
First, and foremost, how are you singing? Where is your technical development at?
You can't sing something that doesn't fit. Period. You may LIKE to sing it, but if it doesn't fit, and doesn't reveal YOU in a positive and intriguing way, or allow you to tell a story without us seeing flaws and misunderstandings in technique both physical and stylistic, then do not sing it. DO NOT SING IT.
Another little secret: in the real world, you don't go to EVERY audition. Just to be seen. You only go to the auditions that you are right for.
If you know the shows and kinds of shows you are right for, then you know what you need to look for within the massive repertoire of music theatre and other genres that reveal YOU and YOUR STRENGTHS.
You can have binders and binders of music at home on a shelf that you are perusing, that you love to sing, that no longer fits, that may someday fit, that you want to try.
Then you have your audition book. Everything in that book should be ready to sing, if asked for. EVERYTHING.
Uptempos, ballads, different genres, different eras, but everything that's in there you have to sing.
If you think you can sing all genres - give your head a shake.
You need to figure out what you do WELL. What your voice is doing NOW. What you could be seen doing realistically.
Then figure out what repertoire reveals that fully without question. Don't make them try to figure it out. SHOW THEM what you DO.
If you aren't clear, they aren't clear. If they aren't clear, you don't get a callback, or consideration, or a second thought.
Know what you do. Figure out what you CAN do. Do it.
You shouldn't need a forklift for that audition binder. It should be light and easy to access.
When you sing what reveals you and those at the table say "thanks, what else do you have?" you should be able to easily reveal another aspect of you immediately.
If you can't, you aren't ready yet.
Get ready. Make it your mission to discover what your voice does, how to make it more accessible, and how you can reveal your strengths in the room IMMEDIATELY.
YOU. YOUR book. Make it personal, and make it accessible. Make it comfortable. Make it real.
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