Acting in Plays, Singing/Grease Audition?

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Expert: - 10/22/2009


Question
Hi Sean,

I'm writing because I have a question. I've actually asked this of a few people and I always get different responses and I'm not sure which direction to take.

Let me explain...

I'm planning on auditioning for our community theatre's production of Grease. The auditions are this November and the show will be in the spring. I'm thinking that I'd be best suited to Rizzo/Marty parts...I generally sing alto-mezzo. The theatre website says that they want singers to use a piece that will show range and ability, but also be something that we love and are comfortable with. They also encourage people to sing songs from the show. So here's what I'm wondering...do I sing a song that is has personality close to that of the characters I'm interested in? Do I sing songs in the pop style that are similar to grease in general? Or do I sing something from the show (ie. There Are Worse Things I Could Do)?

The songs that I'm leaning towards are "Mama Who Bore Me" from Spring Awakening, and "I Know the Truth" from Aida. However, I wonder if these songs are too safe? I can sing them pretty well. I don't have much of a belt, and these two make the most effective use of what I can do...

I haven't done theatre since high school and I'd really like to get a part in this show. What do you think of my song choices?

Thanks in advance for your help!


Answer
Hi, Gillian –

Thank you for the question.

Anytime you think a song is “too safe” – it probably is. That generally implies the song does not offer any competitive challenges and never goes beyond the bounds of your comfort zone. It’s also a song that generates a ho-hum response or mild applause no matter how well you do it.

The real issue with “Rizzo” is being the right Type. Her character and appearance push the button of that girl who has been around the block – frequently. Even if it’s not true, it appears to be likely. Your audition panel will know if you are what they’re looking for before you ever open your mouth.

If you believe your present song choices show you off to your best advantage, then go with them. It’s all in the presentation. You must push Rizzo’s agenda through whatever you sing. You must convince your judges that you are a Pop Star ready to go.

“There are worse things I could do” is an OK song. If you decide to use it – bearing in mind that every other candidate might also – then your rendition has to be the very best ever heard. While you’re getting it ready, work on “Who’s Sorry Now”. It was an immense hit for Connie Francis in 1958. (Grease takes place in 1959.) The song has since been appropriated into several musical hits, including: All That Jazz, Return To The Forbidden Planet, and Fosse. Obviously, very appealing. It’s loaded with opportunities to use your fullest voice and to display both sensuality and vulnerability.

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Acting in Plays, Singing

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Sean Martinfield

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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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