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Acting in Plays, Singing/Audition for Into the Woods-Baker's Wife

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Expert: - 8/18/2008


Question
Hi Sean. When I was in second grade, my grandpa, who had been a singer,
and musical theatre supporter for many years, introduced me to Into the
Woods. Sounds a bit young to be introduced to it huh? Anyhow, regardless of
the maturity level of the show, I fell in love with it. As I grew older I watched
the video of the OBC over and over, bought the script and developed an
extreme liking to the Baker's Wife character. I loved not only her humanlike
qualities but also the fact that you had to be an incredible actress to pull off
the depth of her character. I also have come to love Johanna Gleason's
incredible comic timing, and know that if I ever got to play this role I would
have to work really hard to pull it off. Fast forward to this year. My high
school is doing this school for our fall musical. I am excited, but more
terrified because of two reasons. 1. I'm scared that being a high school, we
won't be able to pull it off. and 2. because my dream role is the Baker's Wife
and I may not get it. I feel as though my acting is my strongest point. I have
been in an acting conservatory for 3 years, and have had the leads in several
plays(including Abigail Williams in The Crucible, and Cecily in The Importance
of Being Earnest, so a bit of versatility). I have been singing for about 4 years
and am in choir. I'm a pretty comfortable mezzo soprano or alto 1. I know
that there are two other girls that I will be competing for roles with, both of
which will be seniors,(i'm a junior.) I'm wondering what songs I should look at
(outside of the show) for auditions. I really want to blow the director away
with my audition. I've been looking at either Could I Leave You from Follies,a
nd also Nothing from a Chorus LIne. But I feel neither really scream"Baker's
wife!!". Thanks for all of your help!
Emily

Answer
Hi, Emily –

Thank you for the question and all the surrounding information.  I appreciate and understand your concerns.

So, at last your dream opportunity is just around the corner – and you are worried about unforeseen production values and the political ramifications surrounding your competition.  Welcome to the Real World of the Performing Arts.  It only gets worse.

"Could I Leave You" is a great piece by Stephen Sondheim.  Obviously, you will never sing the entire song at an audition.  If you choose this piece, you must select the portion that best demonstrates your musicianship in terms of handling the demands of the composer.  "Nothing" is likewise a wonderful piece, offering challenges to both the singer and the actress.  Again, you have to choose your excerpts wisely.

Also consider the following:
I'm Going Back – BELLS ARE RINGING
You've Got Possibilities – IT'S A BIRD, IT'S A PLANE, IT'S SUPERMAN
Why Can't You Behave – KISS ME, KATE
Always True To You In My Fashion – KISS ME, KATE

Whatever you sing, you must convey the "dilemma" of the Baker's Wife.  Her husband is impotent and she has become a cat on a hot tin roof.  Suddenly, out of nowhere, comes some very desirable and highly unavailable dude who plants a big wet kiss on her and then frolics away.  Figure it out.  If any of your competition is working with me, they're already primed to make mincemeat out of you.

Work smart.  Focus on your musicianship, sexual appeal, and comic timing.  Make your potential leading man look good with you.

I am a professional singing teacher and vocal coach in San Francisco.  To book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/800277192.html I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
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Best regards,
Seán Martinfield

Acting in Plays, Singing

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Sean Martinfield

Expertise

I am a professional vocal coach in San Francisco. In addition to answers from a previous web site (Askme.com - where my "tag" was "VocalCoach") I have published over 2000 responses related to vocal training - particularly as it relates to Musical Theatre and Opera. I have 24 years of experience as Personal Trainer to singers and actors in the San Francisco Bay Area. I sang professionally for 20 years and know what it means to live the life of a musician. I can determine your voice category, i.e., Tenor, Baritone, Bass, Soprano, Mezzo-Soprano, Alto, Alto Belter, etc., and how to broaden and strengthen your range. Need an audition song for a Broadway Musical? I will give you suggestions that are appropriate to your vocal category and to requirements specified in the audition notice. I have also created a vocal methodology, "The Belter`s Method". It will enable those in Musical Theatre to practice more efficiently because it focuses on the demands of professional performers as well as to those auditioning for school and community productions, and as University and Conservatory performing arts majors. If what you want is a better voice and more control over your career moves and choices, contact me. Also, as the Editor of SanFranciscoSentinel.com, it is my privilege to review productions at the San Francisco Opera, Ballet and Symphony, as well as Broadway National Tours booked into San Francisco's Orpheum, Golden Gate and Curran Theatres. I also review works by A.C.T (the American Conservatory Theatre) and Magic Theatre. I cover select films, tributes and retrospects, and various international film festivals – particulary those booked into The City's opulent Castro Theatre – including the LGBT Frameline Festival, International Film Festival, Silent Film Festival, Jewish Film Festival, etc. For private vocal instruction, I can be contacted through SanFranciscoSentinel.com. Look under: Seán Martinfield, Sentinel Editor and Publisher.

Experience

As a vocal coach, I work primarily with singers and actors throughout the San Francisco Bay Area. My students range from absolute beginners to working professionals, from pre-schoolers to senior citizens. The vast majority of my clients come to me through recommendation. I know how to identify any singer's vocal category, i.e., soprano, tenor, alto, baritone, etc. I know how to muscle-up every singer's vocal range and to expand it beyond conventional definitions. I have developed a vocal methodology for those who want to know how to belt, THE BELTER'S METHOD. As a singer who spent half of his career doing Bel Canto, I know that classical or Italian methodologies do not work in Standard American music. Bel Canto cannot be "adapted" to meet the needs of contemporary American music, including the demands of the Musical Theatre. There are a number of major components to my work as a vocal coach. The first is to identify the client's vocal category and to strengthen and maximize the vocal range accordingly. Then it's about teaching a reliable vocal workout that will enable the client to gain better control of their musicianship. That includes scale work to expand the vocal range and to improve placement, breath control, and diction. Then we work on material for the audition portfolio, the immediate job or assignment, a recording session, etc. My task to is to better equip singers and actors who are hoping to or relying upon their performance skills and vocal endurance to maintain a career in the Performing Arts. My clients regularly appear in cabarets and musical productions throughout the San Francisco Bay Area. Some have worked in New York and gone on National Tours. For more information, Contact me at: Broadwaybelters@yahoo.com

Education/Credentials
San Francisco State University – BA in Theatre Arts; graduate work in Theatre, Philosophy, and Comparative Reiligion. Pacific School of Religion, Berkeley – Graduate work in Ethics

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