Choosing Audition Material
Plain and simple. Audition pieces should be chosen because the performer in question has a strong connec tion
with the message of the piece, or the piece shows off that performer's talents particularly well...preferably both.
While suggestions can be helpful, you will have a better chance of doing well at the audition if your own blood,
sweat, and tears went into preparing for it. However, we can offer some guidelines as to what to pick and what
not to pick. In general, schools will ask you to have two songs -- one uptempo, one ballad (or one belt, on legit)
-- and one or two monologues -- one contemporary, one classical (or sometimes two contrasting contemporary).
Many schools ask for repertoire (both songs and monologues) from a very specific time or era (usually one song
pre-1970). Many schools also have a dance audition, but that is usually a combination taught to everyone on
the day of the auditions, so on the whole, you won't need to have a dance routine pre pared. As always, there
are exceptions, but this is the norm. (Be advised that if you attend a unified audition, you may need to prepare
your own dance routine for specific schools.)
GENERAL
While it is not always a good idea to do a piece from a show and character that you have already performed, do have
some of your most notable roles and material prepared just in case you are asked. For instance, I was once partici
pating in an NYC Master Class during which one of the participants in the class had recently finished up a stint as
Christine on the Broadway National Tour of Phantom. While the piece she prepared for the class was not from Phan
tom, the instructor asked her to sing the end of “Think of Me” to demonstrate one of his points (working with an acta
ble moment that did not contain actual lyrics). This was a great learning moment and it was nice that she was game to
participate. When you have a credit that iconic or notable, we may all be secretly dying to hear you sing from the rep.
Also, it may help casting directors or college program directors get to know and understand what you do best. If it’s on
your resume, and a notable lead, be prepared (or know that you might be asked) to sing 16 bars or so from the role off
the cuff. (Also- be careful about lying on your resume! They will find out!) There have also been times that folks have
looked at one of my student’s resume and said, “Wow! What you just showed me was a GREAT belt! Thank you! I’d
also love to hear your soprano chops! I see Philia in Forum and Laurey in Oklahoma here on your re sume! Do you
have anything with you from those shows or something similar?” Be ready to do so!
PLAY TO TYPE. This is something a lot of people don't realize about college auditions. While out in the "real" theater
world it can be refreshing for a casting director to see a new take on something, don't do it for the colleges. If you are
a young attractive soprano, don't do King Lear or "Send in the Clowns." Pick something age-appropriate, and yes,
type-appropriate. Same goes for race-specific roles. Though this may be a touchy subject for some, it is an important
point that needs to be brought up. A blonde boy with a surfer accent shouldn't be doing "Bess, You Is My Woman
Now." Now, this is n't to say that if you are Asian, you should only consider Flower Drum Song and Miss Saigon or if
you are black you should only do Dreamgirls. Just make sure that your piece is played by a character that, with
colorblind casting, you could portray. Think of Audra McDonald as Carrie in Carousel awhile back. She was perfect as
Carrie. She wouldn't have done so well as Billy Bigelow, though I'm sure she could have sang "Soliloquy" wonderfully.
Follow her (and the Tony voters') lead. When in doubt, ask yourself, "As of this very moment, would I get cast in this
role?" If the answer is, "Well, no, but I really make it my own out of context!" move on to something else.
SONGS
For EVERY song that you sing, have a full-length version, a 32-bar cut (or one minute cut), and a 16-bar cut (or 30-45
seconds). Some schools want more, some less, and for the ones that ask for less, you should have more available. Try
not to sing anything from something currently running on Broadway. It's a good rule of thumb. (The adjudicators are
going to groan when they hear "Defying Gravity" or "The Wizard and I," or a couple of years ago ANYTHING from
Thoroughly Modern Millie.)
Try not to sing anything too well-known. While shows like Miss Saigon, Les Miserables, Cats, etc aren't currently
running on Broadway, they are still too famous to do without the adjudicators groaning to themselves, "Oh, God, not
again." Show them that you've done your homework. There is LOTS of good stuff out there, all you have to do is find
it.When looking for a ballad, going with the standards is always a good bet: Kern, Rodgers and Hart, Rodgers and
Hammerstein, Gershwin, Berlin, Porter, etc. Ballads by these composers usually have extended legato lines, which is
difficult to sing and will showcase you well.
Plus...they're called standards for a reason. Standards, as opposed to the above current or recent Broadway shows,
are never really considered overdone, even though we know them well. (A good standard is always welcome!)
MONOLOGUES
Be wary of monologue books while looking for monologues for COLLEGE auditions. It is fine to go through collec
tion books (101 Monologues for the Serious Actress, etc.) looking for some material, but if you find something you
like, make sure it's from a play, and make sure you READ the play. (You may be asked brief questions about the
character or the piece it’s from during your audition! It never looks good for you to say, “I don’t know, I got it from
some monologue book...or off the internet!” At the very, very least, know the title and author of the play it is from.)
BAA Pro Tip - Check out Humana Festival and other short play anthologies. This will allow you to read many plays in
the same amount of time you could read one full length play. Note that these anthologies often have character