Audition Repertoire Choices: More Than Just Voice
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Popular Song and Music Theater ASSOCIATE EDITOR: Robert Edwin Audition Repertoire Choices: More Than Just Voice cautioned that "no one can (Jo every- or her strengths. To personalize this thing well." They now must make process, allow me to track for you my some hard decisions about what they 2005-06 high school senior class, want to sing and act. To make these shed some light on the students' rep- choices effectively, my students must ertoire choices, and offer some in- take an honest and highly critical per- sight as to why and how they made sonal inventory of how they look, how their selections. they sound, and how they act. Let's start with Michaela, a beau- A glance in the studio mirror will tiful and very talented young woman remind them that they are a certain who came to my studio in her soph- physical "type." Are they tall or short, omore year as a classically trained thin or heavy, athletic or soft, beauti- singer. Although she had worked pro- ful or unattractive, handsome or fessionally in her late child years and homely, or somewhere in between? wanted a music theater career, she Robert Edwin A vocal warm up will reaffirm their was discouraged from using her belt Each and working range. Do they have voice and, as a result, had no techni- a high voice or a low voice, a big voice cal foundation for that style of singing. When asked to describe what I do or a small voice, a pretty voice or a Since the typical music theater col- as a teacher of singing, my short an- character voice, a flexible voice or a lege audition for women requires two swer is, "I develop a singer's tech- rigid voice, a legit voice or a belt voice, contrasting songs, preferably one le- nique and repertoire." Implied in that or a voice capable of a great variety git piece (head voice-dominant, clas- answer is the personalization of both of vocal choices and styles? sically based), and one belt piece the technique (how one sings) and A careful self-evaluation will clar- (chest voice-dominant, speech-based), the repertoire (what one sings) so that ify for them what strong personality our first lesson saw us immediately each singer will eventually maximize traits they possess and which of their working on her belt voice technique his or her strengths in voice, stature, many emotions are both accessible to complement her more advanced and personality. and comfortable. Are they friendly classical voice technique. Work on technique and repertoire or cold, timid or bold, nervous or calm, Ultimately, Michaela's choice for is ongoing, but there are times in the sexy or prissy, vulnerable or defen- a college audition belt song was easy. year when the emphasis is stronger sive, happy or morose, funny or seri- She was nominated for a regional on one more than the other. For my ous, clueless or wise, or a wonderful award for her portrayal of the funny, high school seniors, autumn signals mix of many? geeky, and insecure Gertrude in Seus- the time to finalize repertoire choices In this very competitive profession, sical, the Musical (2000 Flaherty/ for college auditions. Although they've bad repertoire choices are catastrophic. Ahrens), so Gertrude's high belt song, been encouraged to try out a variety of One never gets a second chance to "All For You" (key of G, range B3 to repertoire that reflects different styles make a first impression, so an ill-cho- D) was a "no brainer." Her fine come- and emotions, they also have been sen song or monologue can be termi- dic and belting skills were contrasted nal. Therefore, preemptive work in by the serious and intense ingenue Journal of Singing, May/June 2006 the studio will diminish the chances ballad, "I Have to Tell You," from the Volume 62, No. 5, pp. 563-566 Copyright 2006 of the student going out in public with 1954 musical, Fanijj, by Harold Rome. National Association of Teachers of Singing material that does not highlight his This song features ringing high notes MAY/JUNE 2006 563 Robert Edwin and expresses a young woman's pas- able, one need never settle for second tone and limited vocal range. The sionate love. best. Drum roll, please: the winning character, simply called The Negro, Allison's situation was the oppo- ballad entry was, "I'd Rather Be Sail- was created on Broadway by Gilbert site of Michaela's, for she preferred ing" (key of F, range A 3 to Gb4) from Price. I suggested to Miles that he her belt voice and initially exhibited A New Brain (1999 Finn). The song needed to know all the obvious fits a very small, choirish soprano. Also allowed Michael to show his soft, vul- for him in musicals such as Show Boat, beautiful and fit, her rep choices de- nerable underbelly both emotionally Purlie, The Life, The Wiz, and Aida, pended on how fast and how far her and vocally. as well as the myriad shows where voice would develop, and how fast Ironically, Michael's up-tempo song, ethnic diversity is encouraged. Even- and how Far her then-fragile confi- "Out There" (key of C, range B b 2 to tually, Miles embraced both the song dence would build to allow her to E"4) from Barnum (1980 Coleman/ and the concept of utilizing all of his choose more competitive songs. After Stewart), was discovered and pro- resources, including his ethnicity. He reviewing a slew of tunes, Allison de- grammed early in the fall. Michael is applied for early decision at New York cided she could play the character very comfortable with larger-than- University, and was accepted in the Guenevere from the 1960 musical, life characters, having successfully highly competitive Tisch School Camelot (Lerner/Loewe), and sing played Pharaoh in Joseph and the CAP2I music theater program. her lyric, legit ballad, "Before I Gaze Amazing Technicolor Drea;ncoat. P.T. Amanda, on the other hand, came at You Again" (key of F, range C 4 to Barnum, like Pharaoh, Conrad Birdie, right on board with utilizing her Eb5) . Tender, sad, and very moving, Cat in the Hat, and George M. Cohan, Mexican-Polish heritage. She under- the song requires vulnerability and is a character that requires high en- stood type casting and knew it was a sensitivity more than vocal gymnas- ergy, a strong presence, and a willing- major factor in theater. A sensitive tics or power. To contrast that piece, ness to "let it all hang out." He found and Latina-looking girl, she had just Allison chose the pop-belt, up-tempo out, however, that one of his college recently discovered a confidence that tune, "The Name of the Game," from choices required a pre-1960 song, so allowed her to make use of her sen- Mamma Mia.' (2001 Andersson/ a trip back to the rep files found suality and a "get-out-of my-way" at- Anderson/Ulvaeus). In the key of "Wouldn't You Like To Be On Broad- titude that translated into the belt F-sharp minor and with a range of way" (key of G, range D 3 to F4) from song, "Take Me Or Leave Me" (key F*3 to B4, it showcased Allison's newly the 1947 Langston Hughes/Kurt Weill of F, range C4 to F,ç) from Rent (1996 discovered assertive attitude, and kept musical, Street Scene, and sung by the Larson), and the legit song, "I Feel her comfortably in her low belt range. theatrical and manipulative charac- Pretty" (key of F, range C4 to G5) from Next, meet Michael, a tall young ter, Harry Easter. Michael loved it. West Side Story (1957 Bernstein/ man with an impish face and a the- Miles, however, came into my stu- Sondheim). atrical personality, who won the du- dio with his up-tempo audition song Instead of the two contrasting songs bious studio award For most songs ex- already in place: "What Do I Need Amanda had to prepare, Lauren's col- plored and rejected. In fact, three With Love?" (key of Bb/G, range for lege of choice asked for four songs in weeks before his first audition, he his 32-bar cut D; to E4, avoiding the different styles: two classical and two was still saying no to all of the ballad high G at the end of the song which, music theater pieces. Fortunately, choices I came up with. Since I have as of this writing, he's still working Lauren enjoyed working with a num- a rule in the studio that states, "If on), from the show, Thoroughly ber of voice techniques and repertoire someone allows you to pick your Modern Millie (2002 Scanlan/Tesori). choices. As her skill and confidence repertoire, pick songs you love and Miles, a medium height, low key, grew, this perky and petite athlete/ do well," Michael and I had to keep African-American, was initially re- scholar/performer looked forward to looking for the right song. No one luctant to take advantage of his eth- showcasing "Star vicino" (key of G, should do a major audition with nicity. I showed him the ballad, "Feel- range D4 to G5—Anonymous), "That's choices that are lukewarm, or teacher- ing Good," from the 1965 Newley/ Life" (key of G, range G4 to A 6 - suggested, but unloved by student. I Bricusse musical, The Roar of the Sacco/Royle), "Johnny One Note" may have loved the songs, but since he Greasepaint—The Smell of the Crowd.