So im looking at potential material at the minute and have read in a couple of books, what shows to avoid rep from... Although I still believe if you can do a song well, do it!
I am a huge Sondheim fan but hear that you should avoid singing a Sondheim piece because it is generally too hard to sight read from an accompanist point of view. Does anyone know if this is true? I'm not a "Belter" as such and his music suits me in chest voice (as well as head) and if I could do one of his pieces, it would be ace, but equally I don't want to chose something that is hard for a pianst to sight read.
Also, is The Girl in 14g a really bad move for an audition piece? I need a comedic, uptempo, contemp piece and this was one of a few I was considering.
Throwing these questions out there in the hope that someone can help me out - Im completely stumped! And TERRIFIED!!!
All info/advice greatly recieved!
xx
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#2
Mark_E
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Posted 19 October 2009 - 04:57 PM
I think Sondheim is ok. Most of the top drama schools should have a pianist who can sightread sondheim, or atleast be familiar with his music.
And id stay well clear from Girl in 14g.
One thing I would say is have one modern song in chest voice and another in legit soprano type singing.
And id stay well clear from Girl in 14g.
One thing I would say is have one modern song in chest voice and another in legit soprano type singing.
#3 Guest_Kezza_*
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Posted 19 October 2009 - 04:59 PM
If they're providing you with an accompanist, then... y'know, it's *drama* school.... For training musical theatre professionals of the future. I'd be disappointed if they couldn't cope with Sondheim.
I personally think Sondheim, wherever you apply is a clever choice of audition rep. I think people generally avoid him because of the rule "he's too hard to play", but if you can do a piece he's written well then why shouldn't you. He's great for showing of the lyrical voice.
Often at auditions you can take your own pianst with you - if you are really worried it might be worth trying to source one of your own?
I might be wrong but I think Drama Institutions will be advanced enough to cope with a Sondhiem piece so I would say go for it.
The Girl In 14G - Only do it if you know you can hit those big money notes. If you can, it will prove amazing - if not, you will sink
I personally think Sondheim, wherever you apply is a clever choice of audition rep. I think people generally avoid him because of the rule "he's too hard to play", but if you can do a piece he's written well then why shouldn't you. He's great for showing of the lyrical voice.
Often at auditions you can take your own pianst with you - if you are really worried it might be worth trying to source one of your own?
I might be wrong but I think Drama Institutions will be advanced enough to cope with a Sondhiem piece so I would say go for it.
The Girl In 14G - Only do it if you know you can hit those big money notes. If you can, it will prove amazing - if not, you will sink
#4
meerkat
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Posted 19 October 2009 - 06:13 PM
This is a useful book that I have come across. ( there are others like it on the market) The author often gives advice on the discussion boards of The Stage under Training and Tuition.
So You Want to Tread the Boards: The Everything-you-need-to-know, Insider's Guide to a Career in the Performing Arts (Paperback) by Leslie Bricusse (Foreword), Jennifer Reischel (Author)
Good Luck with your auditions.
So You Want to Tread the Boards: The Everything-you-need-to-know, Insider's Guide to a Career in the Performing Arts (Paperback) by Leslie Bricusse (Foreword), Jennifer Reischel (Author)
Good Luck with your auditions.
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I've always gotten along with cats
I've always gotten along with cats
#5 Guest_Guest_*
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Posted 19 October 2009 - 06:55 PM
QUOTE(Kezza @ Oct 19 2009, 04:59 PM) 
If they're providing you with an accompanist, then... y'know, it's *drama* school.... For training musical theatre professionals of the future. I'd be disappointed if they couldn't cope with Sondheim.
If it is a good Drama School/Musical Theatre Course, then there would be a big gap in their staffing levels if they did not have an accompanist who could play Sondheim.
Please don't believe everything you hear from rumour and conjecture. If you have
any doubts give them a ring and ask advice.
People generally avoid Sondheim because he is considered difficult to sing, but if you are comfortable and can master his work, then sing out.
Make sure that your two songs contrast well in order to show your range and versatility
#6
Mark_E
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Posted 19 October 2009 - 07:33 PM
I agree excellent book! I had it out of the college library for the whole of last year!!!
I would say though don't take the exclusions list too seriously. I did a song from the list at my audition and got in!
I would say though don't take the exclusions list too seriously. I did a song from the list at my audition and got in!
#7 Guest_Guest_*
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Posted 19 October 2009 - 08:29 PM
To add on from this, I am in a similar situation - a lyric soprano who has never really belted. Therefore, it would be daft for me to go in with something such as "Life of the Party" or another belty contemp piece. I would be much better going in with something like "How Could I Ever Know?" from "Secret Garden" - still contemp, but more legit. Is this a bad move? I would obviously contrast it with a mezzo/alto piece to show chest voice but I am concerned schools look for "belt"?
#8
Matthew Winn
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Posted 19 October 2009 - 09:20 PM
QUOTE(Guest @ Oct 19 2009, 09:29 PM)
I would be much better going in with something like "How Could I Ever Know?" from "Secret Garden" - still contemp, but more legit. Is this a bad move?
To quote from an online discussion back in 1994, from an MD with many experiences of numbing auditions:
Please, please, please, on behalf of those who sit in or play for audition, be creative with your audition selections. Please do not sing:
"You Can Always Count on Me" (City of Angels)
Anything from Les Miz, Phantom, or Miss Saigon
"How Could I Ever Know" (Secret Garden)
"Dance Ten, Looks Three" (Chorus Line) - we are not impressed nor shocked that you can use the words Tits and Ass
"Love Changes Everything" (Aspects)
"Tomorrow" (Annie)
"Soliloquy" (Carousel)
"Memory"
because we have heard them 10,000 times.
Many more tips here, and a whole bunch of what-not-to-sings here.
Huzzah!
#9 Guest_Guest_*
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Posted 19 October 2009 - 09:34 PM
Wonderful, just what i needed to read! 
Another question, as you seem to be a man with much knowledge! Does the era of song matter? For example, I am much more comfortable singing classic MT... should I do a modern piece too, to contrast this or is era not such a huge issue as long as you sing it well?
Another question, as you seem to be a man with much knowledge! Does the era of song matter? For example, I am much more comfortable singing classic MT... should I do a modern piece too, to contrast this or is era not such a huge issue as long as you sing it well?
#10
Weez
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Posted 19 October 2009 - 10:40 PM
What does the audition call for? What are you auditioning for? If it's a musical theatre course and you're proving your complete awesomeness as a singer, you'll most likely need two contrasting pieces (a classic up-tempo and a contemporary ballad, or a classic ballad and a contemporary up-tempo), but if it's for a straight acting course and they just want you to present one song so they can see what you're like, then go for ANY song as long as you can completely OWN it.
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