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. (key of Eb, range Bb3 to Bh4) from Babes didn't, the songs were eliminated. In the key of F and with a range of In Arms (1937 Rodgers/Hart) and, Frankly, there is so much music avail- A2 to D4, the song fit Miles's lush ban- "I'm Not That Girl" (key of A, range

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E4 to B4 (the last note in the song is cutesy Kristin Chenoweth version, ning show in professional American written as E3, too low for many girls— made people (including this teacher) music theater history, The Fantastfrk E4 works fine) from Wicked (2003 sit up, take notice, and laugh their (1960 Schmidt/Jones). Schwartz). sides off. Whitney never had Brian's blend- Like Lauren, Miranda had to sing in Theresa is one very talented and ing issue. A mature and intense indi- several different styles using several very strong willed young woman. vidual from the start, she was one of different vocal techniques. So photo- Highly opinionated, stubborn, and the few singers I have had who con- genic that a professional photographer firm in her beliefs, she was a natural tinually needed to hear me say in both used her headshot on her business for the song, "Waitin' For My Deane," technique and repertoire, "do less" card, Miranda's dark sensuality was sung by the equally strong-willed char- far more often than "do more." put to good use in the 1930 blues song acter Fiona in the 1947 Lerner/Loewe Months of work got her to a level of by Green/Heyman/Sour/Eyton, "Body musical, Brigadoon. Starting in the vocal and emotional efficiency. Ini- and Soul" (key of C, range A: to D's). key of C with a range of C4 to A5, the tially, Whitney was sure she wanted The hurts in her still short life were song allowed Theresa to show off her a music theater career until midway channeled into the song, "There's A legit chops and ingenue qualities. through her senior year, when she Fine, Fine Line" (key of G, range G3 Brian did not share Theresa's fire clarified and redefined her own to D5) from the Tony Award-winning and individuality. In fact, my chal- unique songwriting and singing skills. Avenue Q—The Musical (2003 Lopez/ lenge was to take a very successful Her focus quickly turned to college Marx), while her lighter and more high school chorus bass baritone and pop and jazz programs, and as of this classical side chose "Bel piacere" (key turn him into a competitive music writing she has selected to audition of G, range D4 to G 5) from Handel's theater soloist. When a young singer with "Lascia ch'io pianga" (key of F, opera, Agrippina. spends five days a week blending in range F4 to G 5) from Handel's opera, In general, I am reluctant to suggest his local high school chorus and week- Rinaldo; the 1941 Ellington/Webster overly popular songs, classical or oth- ends blending in regional and All State tune, "I Got It Bad And That Ain't erwise, to my singers simply because, choruses, the odds are against him Good" (key of D, range G#3 to C#s); on a preprofessional or professional breaking out of that pattern one day and a yet to be determined original level, they suggest a limited background a week in a private voice lesson. To song of hers. and immersion in the art form. That his credit, Brian beat the odds, al- Unlike Whitney, Alicia knew from is not to say someone auditioning with though I often felt I was dragging him the start that jazz was to be her ma- "Think of Me" from The Phantom of kicking and screaming into the world jor focus. One of the best improvisa- the Opera and "On My Own" from Les of solo singing. Most successful was tional and scat singers I have ever Miserables wouldn't get into a quality an exercise setting up parallel vocalises worked with, "Sissy" claims every music theater program. Nor can one done first by Brian, the chorus boy, song she sings as her own. We put jazz believe that a school would turn down then by Brian, the Broadway star. He standards, "Autumn Leaves," "Lullaby a fine, young classical singer who chose learned he could have two distinct of Birdland," and "Body and Soul" in to audition with "Caro mio ben" and and separate mind sets that in turn, keys that allowed her to utilize her "The Daisies." produced two distinct and separate three octave vocal range (F3 to F1). In fact, that d ynamic came into sounds, one integrated as part of a For Sarah, it's music theater all the play as Theresa lobbied for the song, group, and the other unique, individ- way. A cute, vulnerable, and thor- "Popular" (key of C/F, range G3 to C5) ual, and able to exist on its own. oughly loveable girl, this petite blond from the aforementioned wildly pop- The tall, sensitive, and very good leaves no doubt about her doubts as ular musical, Wicked, by Stephen looking Brian chose for his college she sings, "Will He Like Me?" (key of Schwartz. Theresa, already working auditions the ballad, "Good Thing F, range A3 to E5) from the show, She in regional professional theater, had Going" (key of F, range C3 to F.J from Loves Me (1963 Bock/Harnick). Sweet no shortage of repertoire. She just the 1981 Sondheim musical, Merrily little Sarah shows her claws and teeth knew that her punk-rockish rendi- We Roll Along. For his up-tempo song, in the song, "My New Philosophy" tion of the song, which was radically he picked "I Can See It" (key of C, (key of G in the Hal Leonard Singer's different than the oft copied and very range B2 to E4) from the longest run- Musical Theatre Anthology, Vol. 3 for

MAY/JUNE 2006 565 Robert Edwin

Belters, but sung in the key of A by or she must present the cut as if it ence has been, however, that most se- Kristin Chenoweth on the revival were a complete song with a begin- rious performers want and need our recording) from You're A Good Man, ning, a middle, and an end. The actor evaluation and direction even if it Charlie Brown (1965 Gesner). In 1998, must dominate at all times. Talk to means pointing them toward different Andrew Lippa wrote the song for the theater people and they'll tell you, "be roles and even different goals. revival. Sally Brown's harangue takes an actor who sings fabulously, rather Sarah from B3 to D.s showing a good, than just a singer with a good voice." high belt as well as a manic and mani- As for music theater repertoire Robert Edwin has gained international acal persona. sources, Hal Leonard recently issued recognition as a singer, composer, teacher, Finally, there is Matt who, like The l6 Bar Theatre Audition, a series and writer. He has sung Bach cantatas in Brian, also battled a chorus mental- of four books (SATB) with 100 songs church cathedrals and rock songs in Green- ity and sound. His was an over for each voice type. You and your stu- wich Village, New York coffeehouses, re- weighted voice designed more to an- dents can sample lots of songs with corded for Avant Garde and Fortress chor a chorus section than to ring out these books and then focus in on the Records, and toured extensively through- with a singer's formant. Matt and ones that work. I love these books! out the United States and abroad. Brian prove that you don't have to To find complete songs, the sixteen His diverse performing career is matched by quit chorus to be a successful soloist, volumes—four for each voice type— an equally diverse teaching career. A lead- but you better be working hard to of The Singer's Musical Theatre An- ing authority on Contemporary Com- keep the sounds separate and distinct. thology (Hal Leonard yet again) are mercial Music (0CM) and child voice peda- Matt is a medium height baritenor invaluable. gogy, Robert Edwin preaches what he with a youthful, innocent face which Watch out for "gender benders"— practices at his large private studio in enabled him to be cast as the child- boys singing girl songs and vice versa. Cinnaminson, NewJersey, where classical like, mentally challenged Tobias in a Some music theater, as well as some singers interact with music theater per- local production of Sweeney Todd classical music departments, frown formers; rock, pop, andjazz vocalists; child (1979 Sondheim). He decided Tobias on such practice. They also prefer age- singers; and pageant contestants. would help him out in college music appropriate songs and monologs. Yes, theater auditions with the moving our students play older people in high Robert Edwin has served on the adjunct ballad, "Not While I'm Around" (key school, but that's because there's no voice faculties of the University of Michi- of A', Range E"3 to A"4). With a nod one over the age of eighteen to play gan, the New Jersey School of the Arts, toward today's pop-rock Broadway those parts! Tell your Golda and your Burlington County College (NJ), and con- style, Matt also chose "Lost In The Tevye that they'll have to wait a few tinues to serve on the Applied Music Staff Wilderness" (key of G, range D3 to years to reprise their roles. of Camden County College (NJ). He is a G 4 ) from Children of Eden (1996 After thirty years of teaching, I am frequent faculty member of the Voice Foun- Schwartz). even more convinced that we do our dation's Annual Symposium: Care of the So there you have my class of career-minded students a great serv- Professional Voice. A member of the distin- 2005-06 hopefuls. None of them are ice, after substantial discovery and guished American Academy of Teachers seeking a career in classical vocal mu- exploration, in channeling them to- of Singing, he has led master classes and sic, even though some of them have ward their personal and artistic workshops in the United States, Canada, to sing classical pieces for their audi- strengths. The world is too competi- and Australia. tions. Save for Miles, at the time of tive a place for us to allow them con- Mr. Edwin is the NATS national Secre- this writing, none know where they'll tinually to meander through reper- tary/Treasurer, and an Associate Editor end up in the fall of 2006. By the time toire that serves no end other than of the NATSJournal of Singing. His col- this piece is published, for better or self-indulgence. The mirror, the tape umn, 'The Bach to Rock Connection" worse, all will know. recorder/CD, the honest self-evalua- (1985-2002), was the first regular feature Audition requirements for college tion, are critical components for their in theJournal dedicated to nonclassical music theater programs run the gamut success. Sometimes it is a painful voice pedagogy. In 2005, he was honored from complete songs to sixteen-bar process if their self-evaluation is out to be the first Master Teacher in the NATS cuts. Most songs can survive editing of sync with the professional perform- Intern Program to represent the private down as long as the singer knows he ing community's opinion. My experi - studio sector. www.robertedwinstudio.com

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