“A hugely important, perfectly incredible INTENSIVE!”

                                                                                                              -Linda Hughes

Eight weeks that could change the life of an aspiring singer.
For students 12 – 17

Coming January 2022
 

STEP #1:                  SIXTEEN WHAT?
 

POTENTIAL STUDENT:  This looks interesting.  (reading)  Each student auditioning must prepare and present a sixteen-bar musical theatre upbeat selection that is not from the show.  (pondering)  But I’m new.  I don’t have a clue what a sixteen-bar, upbeat musical theatre piece is.  I just want to audition. I think. 
Let Mr. Newburg answer all your questions.  He will be happy to help you understand how to cut an appropriate selection of 16-32 bars. All supplies, including musical scores, will be available for the student. 

STEP #2:            ALL EYES ON THE CONDUCTOR!
 

Scene:  The cast is gathering for the first musical rehearsal.  Only a few of the old ones notice the conductor arranging his score and baton on his music stand.  The new ones are talking and laughing.  The conductor taps the edge of the stand with his baton and says, “All eyes on me, please!”  The cast continues to talk and play around.
Conductor to self:  They may not know any better, but they will!”
Parker Bowen will give you insight into the partnership between conductor and singer.  The students will learn what is expected from the first audition through rehearsal and performance.  Each student will receive a student baton for the class.

STEP #3:            OH MY GOSH. I CAN READ MUSIC!
 

STUDENT:  I am so excited.  I made callbacks, and on my first audition.  I am pumped.  (reads post)  Be prepared to sight-read from the score and cold read from the script. 
I can’t read music. I’m not in a choir and I have never taken piano.  HELP!
Amber Dewey will instruct the students on the basics of reading music for theatre auditions, a must for any aspiring singer/actor.

STEP #4:                             THE SONG AS A MONOLOGUE
 

STUDENT:  I’m not sure I did very well on my audition.  They told me that I needed to work on the character.  I guess I can’t just stand there with my hands folded and expect them to see what I can do. Except, that’s what I can do.  I need to solve this problem.
Cindi Bulla will be delighted to help you understand how to act the song as a monologue to cement the character before adding music.  Every movement and thought must have a reason behind it, and you will learn how to make choices to enhance your performance.

STEP #5:        LOTS OF TALENT.  LOTS OF DECISIONS!
 

STUDENT: Not my best audition.  My singing was good, but my dancing was not what I wanted it to be.  I’m not sure I want to do Musical Theatre, but I love it.  Seems like an MT kid must be a triple threat.  What are my options?  I love to sing.  I love to draw and paint.  I love playing in the orchestra.  It’s hard to decide.   
Cadence Lowery-Hart will address the decisions facing talented young people who have chosen the arts as a career.  

STEP #6:               AND WHO HAS THE LAST WORD? 
 

STUDENT:  Hmmm.  I don’t like the way I’m being directed.  Should I voice my concerns or just keep my mouth shut?  HELP!
Monty Downs will help clarify the partnership between director and singer from audition through rehearsal and performance.  

STEP #7:              WHAT DO YOU MEAN, NO STAPLES?
 

SCENE:  A young person, with rolled, soiled, and stapled audition music, approaches the accompanist. The accompanist looks at the disaster, unrolls the paper, removes the staple, and tries desperately to keep the music on the piano.  She looks at the kid auditioning. 
The kid responds:  I was nervous, and I cut my finger on the staple because it wasn’t in the paper right.  Don’t you have a copy of this music somewhere? 
Accompanist: No – it’s YOUR music, not mine.
Mila Abbasova will address the importance of the partnership between accompanist and singer.  The students will learn different ways of presenting audition music to the accompanist as well as other helpful hints on how to best present themselves at an audition.

STEP #8:            WILL I EVER GET A LEAD ROLE?
 

STUDENT:  I work and work and get frustrated with the roles I continue to get.  I’m always told I need to be patient, continue working and my time will come.  Really?
Kylie Howell will explore the life of the singer from audition to rehearsal and performance. The class will be participatory.  The discussion will include singer’s anxiety, frustration, and the thrill of success.