Steven M. Alper has been called a "musical handyman." He has played countless auditions, and he is the author of Next!: Auditioning for the Musical Theatre. He is a veteran of the musical theater: a musical director and/or conductor for many musicals, a vocal arranger and orchestrator, a writer of dozens of incidental scores for plays, short films and TV, a coach of hundreds of singers and musicians, a teacher of piano, theory, history of music, vocal techniques, repertoire, and audition techniques around the country. Mr Alper has also composed several musicals, with bookwriter lyricist Sarah Knapp, including The Library, The Audition, C'est la vie, Rappaccini's Daughter, and Chamberlain: A True Civil War Romance.

Which song will get me the part? Unless specifically requested not to, choosing a song from the show and character you're auditioning for is never a wrong; otherwise (in order of overall value) sing something:

• Appropriate to the character



• Appropriate to the show



• Appropriate to the style and/or time period of the show



• Something that connects with the show and/or role in some way and shows off your talents to your best advantage.

And ask your teachers, your moms and dads, or just search your heart: an easy answer to a question is no substitute for good, personal research!

Where do I find out about auditions? - The theatrical trade papers are the best place to look for that kind of information. For instance, Backstage always lists some kind of replacement call for Broadway shows or tours. You can find some of the listings online at Backstage and The Hollywood Reporter. Outside of the areas served by the major theatrical trade papers, your best bet is your local newspaper(s). Theatres will often buy advertising or send press releases that are published in the "Arts and Leisure" or whatever section carries news and reviews of theatre in your area. You may even find listings in the "Help Wanteds." Otherwise you may want to contact the theatres directly and ask them what they do to publicize their upcoming auditions.

Agents - Please also read: Do I really need an agent?

Response to Ref 697.
I'm not sure how things work on the West End, but in New York musicians are generally hired by a musical contractor -- a person employed to find musicians with the appropriate talents and skills to fill out the orchestra. So getting to know who the contractors are and getting them to know your work is the way in.

Response to Ref 702.
Dear Tim:
I first have to ask, Why bad audition material? There's no point in auditioning with inferior or inappropriate material. Yes, talent and/or an original approach to bad material (which of course would apparently elevate it above "bad material") can transcend the material, but why use it in the first place? Better off going in with all your guns blazing using the best and most appropriate choices you can.

Response to Ref 703.
Kate: It seems like you have most of the answers to your questions. Yes, it depends on the production of course. But, putting on my analyst robes, the fact that you are dwelling so strongly on the dance skills issue makes me believe that perhaps you have a deeply seated insecurity about your dancing. The best way around this, obviously, is to do something about it. (Perhaps you're being too picky about the instructors?) And just as your castibility in a show is dependant on the dance requirements of ths show, so will your acceptance into a drama school be dependant on the emphasis the school places on a dance audition.

Response to Ref 704.
Ariane: Three years is quite a ways off. It wouldn't be a bad idea to give yourself some time to come to a decision about what to do after graduation. The answer may be much more obvious to you in a couple of years. But, yes, there are graduate and/or advanced programs in theatre studies all over the world.

Response to Ref 706.
Candace: Keep plugging at the school auditions. Don't worry about college (or a career) yet. Spend a little more time auditioning and see how things play out. (And then come back with some more specific questions.)

Response to Ref 714.
Yes, there are dinner theatres in America. For a thorough listing of theatres in the US, try the American Theatre Web.

Response to Ref 728.
Dear Tina: I hope you do find my book helpful with your audition anxiety. I think that perhaps the best solution is to make yourself as thoroughly prepared as possible, know what you're doing backwards and forwards, make sure your material is appropriate and shows you off well. You might as well start to think of your auditions as short performances: if you can take some of what you achieve in real performance and bring it to an audition situation, your problems are solved.

Response to Ref 775.
There's a small "book" published a number of times a year called The Ross Report which lists all of the franchised agents in the major metropolitan areas.

Response to Ref 777.
Sara: Sounds like you're doing pretty much everything you should be doing! Keep performing wherever and whenever you can. Remember, it's up to you to find auditions -- they won't find you. (Oh, and for the record, capitalizing every word is just for titles. And "chow" is grub, slops, low quality food; you mean "ciao.")

Response to Ref 778.
You fail to mention what your daughter is auditioning for. Based on what she's auditioning for, try to figure out the appropriate style. If no information is forthcoming, go with what she's best at!

Response to Ref 785.
My suggestion is that if you have the desire you must make the time. If you cannot find the time for the training, how will you ever find the time to make the attempt to ever actually practice your new craft?

Response to 788.
Of course there are opportunities for "foreigners" at an audition! A gentle accent is seldom a problem, except for roles that need be "indiginous." For chorus roles, non-speaking roles, etc., it wouldn't matter if you could speak the local language at all (except that you'd need to understand direction). Certain roles will call for an accent anyway, and -- sad to say -- to many auditors one accent is as good as another!

Response to Ref 790.
Be aware that very seldom, if ever, will a musical theatre degree be a requirement for amateur, semi-professional, or professional theatre auditions. Beyond that, please read Where do I find out about auditions? at the top of this page.

Response to Ref 791.
Most auditions that call for a videotape will state the requirements. If for some reason in your case this is not true, think about what it is you're auditioning for. Is it a musical? Your tape should show some singing, movement, and a monologue or two. A straight play, or film/TV? Just the monologues.

Response to Ref 797.
This is a question that you'll have to answer on your own (there's no way I'm taking that responsibility!). You might dip your toes in the water before making any irrevocable decisions, perhaps over the summer or during a long break. Aside from the training (and the degree, which may be necessary at some point should you decide to teach), the big gain from a university is the connections you make with professors, guest artists, and classmates.

Response to Ref 798.
I cannot make this decision for you, but you might consider doing both: going to a college or university in a "center of performing arts."

Response to Ref 799.
It could be, although many find it a trap. It can pay the bills though, if you indeed do book the commercials.

Response to Ref 803. To prepare for the range shifts, make sure you leave yourself time for adequate warmups. And direct the warmups towards the range you'll be working in. As far as whether to sing something familiar or obscure, remember that it is of primary importance to show yourself to your best advantage. If a well-known tune is going to get you the best performance you can ever give, go with that for sure! Otherwise, try to gauge a song's popularity at auditions -- just because it's popular, doesn't mean it's used for auditions often. Bottom line, however, less familiar is usually safer; it avoids comparisons with the previous guy who just sang it.

Response to Ref 804.
No, it is not a reflection on the caliber of the performer. As a matter of fact, some people believe that many swing/u.s.'s are more capable than your run of the mill principal, being able to deal with a much more complex set of challenges (learning different but very similar blocking and/or choreography, different harmonies, a huge quantity of material, etc.). Then, though, there are the u.s./swings who are excellent at reproducing the work of another actor but are not able to create a role on their own. So, yup, there's no way to generalize.

Response to Ref 806.
Samantha, a talent agency will usually tell you what they want you to prepare for a meeting with them. Most often they'll want to meet to talk first, to get an idea of who you are and what you're like as a person. Then they'll arrange for an audition, where they'll most likely want to hear a monologue or two as well as several contrasting songs (if they're interested in you as a singing performer).

Response to Ref 808.
Chicago is an ideal place to look. There's a small "book" published a number of times a year called The Ross Report which lists all of the franchised agents in the major metropolitan areas.

Response to Ref 812.
Sophia, I can't really say. Only you know whether your workload is too much for you. Instead of going with a coach, a class would probably be a better place to start, though, because of the opportunity to see how other people work. As to your other question, I'm afraid that your misspelling has obscured its meaning. Are you asking "more than one agent" or "more than an agent"? If you are asked to sign with an agent you will probably not be permitted to work with other agents, except in the case that the agent has signed you for a certain field (say commercials only, not theatre or TV). In that situation you'd be allowed to work with other agents. If you're not being asked to sign, only to freelance, you can freelance with any number of agents.

Response to Ref 814.
Dear 17 almost 18, Boston Conservatory has an excellent reputation as a fine school. I haven't heard directly from anyone who spoke about the program itself (other than a conversation with someone who transferred from the opera program to the musical theatre program). As I've stated before, other than for networking purposes, where you've gone to school is rarely a highpoint of your resume. Yes, BC will look better than Podunk State, but it will rarely get you an audition you wouldn't have gotten otherwise.
It is not unknown for people to get discovered in a showcase, but that's dependent on who's in the audience and the visibility of the performer in the showcase -- it won't help someone in the chorus. And the returns are not worth betting the previous four years on.
Remember that the end goal of any theatrical training is the skills you acquire, so look for quality of program, not how beautiful the name looks in print.
There's no telling when you'll get the opportunity to get your card again -- I know people who tried for more than 10 years to get their cards. On the other hand Equity membership can prevent you from doing any number of non-Union-authorized performances. The chances of you doing an Equity production during your four years is unlikely -- except during the summertime, when you might prefer the option to find non-Union employment or internship.
Not knowing your work makes it hard for me to be more definitive. And even if I loved your work and believed you'd be a star in no time doesn't mean that everyone else will agree with me.

Response to Ref 816.
Jessie, for your first question try the top of the page! ("Where do I find out about auditions?"). As far as age goes, the only prerequisite is appropriateness to the role being cast. If the show is looking for 12-year-olds and you're 10, 11, or a young-looking 15 then you're appropriate. The real requirements, however, are the ability to handle the work and the hefty obligations working in the professional theatre places on an actor.
And why you can't get a solo is something I can't even begin to know.

Response to Ref 819.
Abby, versatility is prized in the theatre as in elsewhere, and whatever wealth of resources you possess can be called into play when you need it. A single role may not require all you have to offer, but within five or six or auditions you may be asked to show the kind of variety that pulls from your entire spectrum. By all means focus on what you like most, but at least maintain the other areas -- it'd be awful to wake up down the line regretting not continue to explore some of the avenues.

Response to Ref 823.
Abby (the tenth), I can't say for sure what all schools will look for, but I can bet you they'll all want to see good grades, which usually are a good indication of focus and attention.