So once you've chosen the perfect song (see former blog post), now you've got to nail the audition with your performance. 
​
As a director, I can't tell you how many times, in fact more often than not, I have performers audition without really performing their song.  They sing it, but they don't perform it.  Let me tell you, when a performer walks up and performs the song in character, it's a joy for me.  I want to see what you can do!  I want to enjoy your performance. I want you to be the perfect fit for the roles I have. I want to see you perform! I want to encourage this in all performers out there. So let's get to it.  

Preparation

Rehearse, rehearse, rehearse.  I can't stress this enough!  Singing along with a cd in your car is NOT enough.  You must plan your performance. Practice your full audition from entrance to exit of the room including your introduction and thank you.  You want to be so prepared that you don't have to think about it. When nerves kick in, as they will, you want to be confident in your material and every aspect of your performance.  

Consider if the auditors want to chat with you, what might be a couple questions you have for them?  Maybe you'd like to know what period they are setting the show in, or if they will be having a full orchestra or a small combo, a large ensemble/chorus or smaller cast size. What about their company appeals to you?  What other shows has the director done that you've seen and can compliment them on?  It's good to have a couple things ready to chat about.

Think ahead of what you're going to wear, how you'll do your hair and makeup. As with modeling, clean and simple attire is generally best.  You want to be a fairly neutral canvas so the auditors can imagine you various characters.  If you have long hair, I'd suggest wearing it down, styled nicely but not covering your face, and bring a tie or clip in your pocket so you can quickly put it back if they ask or for a different look for a second monologue or song.  Avoid heavy jewelry if you wear any at all.  It can be distracting.  Makeup also should look clean and fairly neutral.  Above all, don't dress as a character... either what you're performing or auditioning for. Just no to that.  

Lastly, if you are called back to audition a second time, I recommend wearing the same clothes and hair style as you wore to begin with.  You want to look like the person they saw before and called back. If you walk in looking like someone different it could turn them off to you completely.  On a related note, make sure your headshot is up to date and looks like you as you go to audition. 

Your entrance and introduction

When you're brought in, you can say hello to the auditors as you walk to the piano.  Greet the pianist with a quick smile, hello with your name, and then open your sheet music, already prepared for them, show them where you want to begin and end (clearly marked) and give them a clear count of the tempo you're wanting.  Let them know if you want them to lead you in with music, or just give you a pitch then follow you as you begin.  This entire process should take 10-20 seconds. 

Now, walk to the audition area, to a mark if there is one, or to a comfortable distance from the auditors.  Don't get to close so they feel you're on top of them.  Remember they want to see you head to toe.  If you need a chair for your number you can grab one or ask for one, but have a backup plan in case they don't want you to use one.  

Now with a smile and friendly attitude and confidence, state your name, the song you'll be performing and the show title.  If you were asked to do more than one you can give both in order that you'll be performing them. Take a beat to center and get into character (having rehearsed extensively this should take only a short beat), then motion to the pianist for your queue.  

The Performance begins...

The Other:  

In any solo performance (monologue, song, etc) using an unseen and imaginary "other" can be an amazing tool.  This takes some practice in your rehearsals, but if you can clearly imagine a person you're talking to, with their own point of view on what you're saying and even their reactions, movements, judgements... this all can make YOUR performance appear natural and organic. Think of it as a scene partner that's only in your head.  As you begin your performance, you will want to pick a spot in the back wall where you will place the "other" that you are talking (singing) to.  This is the person your character is telling the story to, or appealing to, or remembering, etc.  You do not want to look into the faces of the auditors, unless in some rare case you're doing a piece where the fourth wall is intentionally broken. This generally makes auditors uncomfortable, since they will need to look down to take notes and they want to watch you without feeling like they need to express support for you at the same time.  Focus beyond them.  Try to really connect with this "other".  Imagine their expressions back to you... what if they start crying? What if they look angry?  What if they turn away and you have to get their attention back? These choices can make your performance more dynamic. Use the text of the song as a guide along with the overall story the song is from.  As if there is another person there with you, the other is a person with whom you interact. It's a subtle thing. Don't overdo it, but let that energy influence your performance.

Movement: 

Generally you don't want to do too much movement around the space, even if you are playing a piece that is energetic or a character that is frenetic.  The auditors still need to have good eyes on you.  So how can you use the space, be adaptable to smaller or larger spaces, and convey the performance?  Also, if you are given the luxury of singing the full song, or a longer segment, how can you portray beginning, middle and end?    

One simple tip is the side, center, forward method.  In your performance preparation, place the "other" out front and center.  Starting with your focus on them, you stand at center.  Then at a moment in the song of introspection, or conflict, or aside, you take a few steps to one side and change the focal point. The energy adjusts for this change.  Then with maybe a discovery the character makes, or a point of strong emphasis, they shift focus back to the other and move back to center.  Lastly, with the final idea being presented, or final build of the song and story, you take a couple steps forward to build and end there.  

What to do with my arms?

It's amazing how often I hear performers ask this, or talk about wrestling with it. What to do with your arms as you're performing?  Well first, your arm stance, movement, gesture should ideally come organically from the character you create.  Is the character nervous and fidgety?  Are the aggressive?  Shy?  Do some work on this type of discover and try to work from there.  But technically you want them arms to support your performance, not distract from it.  So keep that in mind.  In general keeping your arms above your waste, not hanging at your sides, gives more energy to your performance.  Arms at your sides generally convey's the performance is over.

Gestures should come from the energy of the moment of the story, out from your core.  If you are working well imagining the interactions with the "other" you're playing to, this can be very helpful. If you imagine the other turns to walk away, might you reach out spontaneously toward them along with a vocal emphasis to try to get them to turn back? If you imagine the "other" is leaning in and hanging on your every word, might you naturally want to reach up to touch their face?  If you're frustrated and can't make a decision for yourself, where do your arms want to go?  Working from the character, story and interactions with your "other" will help lead the way. 

Variations and getting creative

For a song audition, you really have very little to work with.  You have your body, your clothes, the empty space, often you have access to a chair.  These few things can be used creatively and very effectively, as long as they don't become some strange novelty act.  Never let these details distract from the performance itself.  They should only enhance it subtly.  

First of all, avoid elaborate props.  You might use a bracelet on your wrist to convey a gift or memory of a loved one.  You might pull a handkerchief out of your pocket to use.  The chair itself could be used to place the other in a location that you move around, as long as it doesn't focus your face away from the auditors too much.  Just be careful of going too far.  If it's not something you would normally have on your body walking around in public, I'd generally say to avoid it.  Pulling an egg beater out of your pocket, for example, just looks gimmicky and risks distracting the auditors from your performance ability. 

The chair can be useful. I once directed an actor in an audition piece that started out with her watching a movie in a theatre next to her boyfriend, to turn the chair upstage away from the auditors and start with her back to them (after introduction of course).  She played looking to her side to him before she got up and then addressed the other she was speaking to out front.  She could relate in the scene then to both the other AND to the imaginary boyfriend. It worked beautifully.  

Using the space effectively is also important. Again, don't get too close to the auditors, but you can sit on the floor, start to the side and move in, cross the space... These variations can make you more memorable if used well.  Always focus on the performance itself first. These choices are there to support it.  Be prepared to adapt also. If you planned to start on the floor but realize that doing so will make some or all the auditors have difficulty seeing or hearing you, adapt and do it in an alternate way you've already prepared.  

Your exit.

Once you've completely your piece(s), you should come out of character back to your smiling friendly self, repeat your name in case they are video taping or recording and thank them.  You can then proceed to the piano to pick up your music and exit, unless they ask you to do anything additional. 

Testing you.

Some may ask you to step over to the piano and run some scales to test your range, ensure that you can match pitch, or even harmonize.  This generally happens if they need to make sure you can sing the range of a particular character, or if they weren't satisfied in your audition song to give them a complete picture of your abilities. Just smile and do what they ask. The fact that they are asking means they're interested. If they weren't, they wouldn't bother.

A chat.  

Some auditors will want to chat with you a bit. Asking questions about your experience, or just to get a sense of your personality.  It is very important that you come off as personable, friendly, professionally, and that you can take direction easily.  When a director doesn't know you, they will be taking a gamble in casting you.  You need to understand that this is a risk to the production and to the theatre. Your ability to show them that you will be someone they will enjoy working with and not have any problems is very important.  

Your rep.

By this same token, your reputation is a critical piece of your performance career. If you get a bad reputation for being hard to work with, obstinate, laking in professional work ethic or attitude, you will simply not get hired any more. Theatres DO check references and talk to each other.  Don't be one of those performers.  

A number of times I personally have planned  to hire one actor, but after the theatre called on their references and got bad reports we went to a 2nd or 3rd choice for the role.  It's simply too risky with all the work and time and money that goes into a production to have one troublesome performer ruin the show, or ruin everyone else's enjoyment of the experience.  One bad report on an actor and generally I move on to cast someone else.  

It's notable here too that I've worked in some remote locations where actors bad behavior is unfortunately reinforced because the talent pool is so small that they continue to get hired despite their bad behavior. This is extremely unfortunate. It's not good for the theatres, for the audiences, for the rest of the people involved in the productions and certainly not for the actor with the bad behavior. At some point they might move away from that area and be completely ill prepared to behave in an acceptable way in the area to which they relocate. I say again... don't be one of "those" performers.  

Audition with a professional attitude, even if it's community theatre you're auditioning for. Undergo thorough preparation, with skill, confidence and creativity.  Remember, the director WANTS to like you, and the only thing you're competing with in an audition is the director's vision of the roles in the show.  Support your fellow actors in their process at the same time. That's the professional way as well. 

So you're auditioning for a musical and you're wondering what song to choose?

Song choice is important for your overall impression and some technical details play an important part as well.  Here's some things to consider:

First, let's address some long accepted standard rules for musical auditioning:
​

• ​​Do pick a song from the musical theatre canon.  Don't look to pop or rock music, folks tunes, a movie soundtrack etc. Those choices might be fun for karaoke at the bar, but they will make you look amateurish to a director, producer, etc.  
• Don't chose a signature song. A signature song is something that someone famous is strongly associated with due to their outstanding and memorable performance.  Some examples:  Don't Cry for Me Argentina - whether you thought of Lupone, Madonna, or some other famous performer who's done it, you likely aren't going to stand up to the director's memory of that past performance and therefore will suffer by comparison. People from Funny Lady will forever be owned by Streisand. Don't do it.  I think you can get the idea.  You want a song that is not strongly associated to a specific star.  You want the director to hear you, not be comparing you in their head to someone else's iconic performance. 
• Don't do anything from a currently popular Broadway show.  For similar reasons to above, it gives us an unfair comparison to the current stars. Also it frankly makes you come off as an amateurish wannabe.  Instead find a song that shows off your voice and performance so the director focuses on you instead of that current hot show.  
• Don't sing a song from the show you're auditioning for.  The director may have a particular type in mind for the role the song you might choose is intended for. By singing it you could be narrowing your chances. When the director might see you as perfect for another role, now by singing this one they may not be able to see past it and rule you out entirely. 

Now let's talk some purely technical considerations: 

• Look for a song that is not too difficult for a pianist to play.  The ideal for a musical theatre audition is to sing it with real live accompaniment and not a cappella and not with a recording.  Since in musical theatre you will be expected to sing with live musicians (at least in the vast majority of cases) you need to show them that you can do so, with pitch and harmonies taken into account. But, you also don't know how adept the pianist is. Don't create some strange cutting or ask the pianist to follow odd page turns. You should have the music prepared and taped so they can start at one end and end up at the other, ideally with the least number of page turns possible. So you want something that showcases you, but isn't too hard for them to play that they mess up your audition.  
• Don't ask the pianist to change the key or alter the music. They are just there to play the music you put in front of them as written.
• Follow instructions. If the audition calls for 16 bars or 32 bars, then be prepared with the selection ready to quickly give to the pianist and show them where to begin and how to lead you in, or if they just need to give you a pitch to start, etc.  Make sure you carefully choose those bars to showcase your voice and hopefully give you at least a bit of performance possibilities. Some emotion, a build, a big note, etc. Be professional and be ready. That being said, make sure to rehearse the entire song just in case they decide they want to  hear more. 
• Have a backup plan! I've had directors stop an auditioning performer and say "I've heard that song 10 times today. Do you have anything else?" Be a pro and be ready for that too! 

So what makes a great song choice? 

• From above you probably recognize the recurring theme that you want to look for a song that showcases your voice and your performance. It needs to sit well in your voice, show off your range of low to high if possible, feature nuances and unique qualities of your voice.  Play to your strengths too. If you normally have a bit of a gravelly voice, find a song where you can feature it.  If you have an unusually powerful falsetto, show it off somehow especially if it might play into the show you're auditioning for. In theatre, uniqueness is valuable!
• Ideally you'd choose a song that is lesser known or from an older show that is not in the forefront of the director's mind.  My ace in the hole song is "Once Upon a Time" from All American. It's a ballad. Shows my baritone range with some power notes. It's easy to play and cuts well for a small number of bars.  I have frequently had directors comment "That's a great song... what's that from?"  Perfect!  
• Can you pic a song that has similar style, emotional content, and/or reflects the story of the show you're auditioning for?  This is subtle, but if you can find something that has a tie in to the character show and characters you might be considered for, all the better! This can help the director link you as well. 
• Lastly, you want a song you can actually perform!  Don't just stand there and sing like this is choir. You're a performer! You should perform the song. What is the emotion behind it? What is the character thinking? What are they going through? What do they want? What do they discover during the song? You don't need heavy staging or really any choreography (unless for some reason they ask for it), but you do want to perform it in character. Look for audition songs that enable you to do this! You only get one chance to impress them. Show them how their audience will be drawn into you! (More on musical theatre audition performance coming in another blog post!)

So look for some good audition songs FOR YOU. Just like monologue pieces for auditions, find a handful of songs with different qualities... contemporary, more classic, edgy, charming, comedic, emotional. Have those songs in your library and ready to go so you can quickly brush them up before the next audition and go.  Rehearse extensively!  Be a pro, be ready!