QUOTE(Guest @ May 23 2008, 01:39 PM)
Unless you are Madonna or a very well known Broadway star (or the musical is an original and they just really want you for a specific part) - it is usually NOT the done thing to transpose a song. And certainly not to change any notes. It's ok to veer off once or twice but not in general. You don't have to change the tune to sound original and unique, there are other ways to achieve this. But in musical theatre (not jazz or pop) songs you stick to the tune. There is a reason the composer wrote it that way and most would be very annoyed to hear it changed. As for transposing - not done either, if you can't hit the notes you obviously shouldn't be playing the part. Also and possibly more importantly - it can change the way the whole song sounds and give it a completely different feel. Again, there is usually a reason the composer puts it in a certain key. As said before - if you are a "star" alterations can often be made, like is the case with all the celeb casting in Chicago who can't dance well enough for the original choreography.
All the above also applies to pro and drama school auditions. If you can't hit the notes, choose another song. Otherwise the panel will simply remember negatively the fact that you COULDN'T hit the top notes, rather than your performance. If you are up for a certain part in a musical, you will be sent the original score and key to learn it for your recall. You CANNOT then decide to change the key and go to the audition with a transposed version.
Yet another reason this type of casting has nothing to do with professional auditioning.
That's all true to an extent. But I would say that in an audition situation where you are are singing a song that
isn’t from the show that you are auditioning for, it's fine to change the key as long as you give the pianist a copy that is clearly and accurately transposed into the key you want. West End shows that have had "alternate key" versions include Beauty And The Beast and The Producers. Denis Quilley asked Sondheim if the first half of Epiphany could be raised a semitone and SS agreed. Apparently in the original WE production of Side By Side By Sondheim the 2 pianists had to play Another 100 People in 5 or 6 keys.
Additionally there are problems when the published vocal selection books of shows have all the songs in different keys from the actual show. If you want the original show key you have to pay a huge sum for the vocal score or, when there is no vocal score published, scrounge an illegal photocopy.
Summertime, in Porgy and Bess, is in B minor, but it is always published in A minor. What's the "right" key? In the recent "musical" version I think it was in G minor.
Ol' Man River occurs in Show Boat in 4 different keys; which is the "right" one?
What's the right key for Big Spender? The show key or the Bassey key?
Etc.
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I'm just concerned that Nancy is a pretty high belt, and Im pretty sure some of the girls havent even hits the notes they'd need to be capable of yet
to give it a 'different' sound for the performance.
It is of course different if you are part of a show and the composer decides to change the key - or the producer for specific reasons. But what I meant to say was - it's not up to the actor to do so. Our job is to interpret the material we are given - not change it. 
