Acting in Plays, Singing/Ragtime Audition HELP

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Question
Hi! So I have read a lot of the other questions that people
have asked you and you give such great song advice I was
wondering if you could help me out! I am auditioning for
ragtime in a couple of weeks and I have no clue what to
sing! The breakdown for the the audition says "NO ROCK NO
POP" in big caps they want to cast "strong legit singers"
and would like to hear "traditional broadway" I am african
american 24 years old alto belter/alto or Mezzo (when I sing
legit or opera) I don't want to go in and sing the same
songs everyone always uses like summertime. So I was
wondering if you had any ideas. I was thinking of "when did
i fall in love" from "Fiorello" but i have doubts about it
its a tad high for me. I have a WELL developed lower range
but I want to show the power in my voice HELP PLEASE!

Answer
Hello, Jasmine –

Thank you for the question.

The musical RAGTIME is all about “Music Hall”. Do your research into the era of “Ragtime”, roughly the years between 1890–1910. The music from that period is totally fabulous.  The lyrics from a long list of popular tunes are loaded with theatrical opportunity and best played out in the particularly stylish music halls of the day and in the company of a great group of musicians.

Nobody used a microphone, obviously. If the Producer couldn't hear you, he wouldn't hire you. Simple.  And there many theaters with more than three balconies. Thus, “legit” means – “Prove to me your voice is going to last 8 shows a week. Sing!” And “Traditional Broadway” means – no faddish pop/music voice styles or that irritating Little Mermad voice in all the Disney shows as well as the easily identified voicings in WICKED, AIDA, etc.

Bottom line – it’s about your voice and your presence being heard and felt in the last row of the last balcony. The score of RAGTIME borrows themes and rhythms from a specific period of time. Whatever you choose to sing, you must present it in the same manner as any of the songs from the score. Your job is to prove your mezzo-soprano range and your ability to belt. If you need a song to be transposed in order for you to accomplish that, do it.

Consider any of the following:
Who’s Sorry Now? – FOSSEE
The Best Thing For You – CALL ME MADAM
The Man I Love – LADY, BE GOOD
After You Get What You Want You Don't Want It – THERE'S NO BUSINESS LIKE SHOW BUSINESS

I am a professional singing teacher and vocal coach in San Francisco.  When you want to book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/1211994754.html
I am also the Editor and Publisher of SanFranciscoSentinel.com.  All my articles and interviews about the Performing Arts provide a link to my personal e-mail.

Download Carmen Milagro’s BlogTalkRadio interview with Seán Martinfield and jazz composer/pianist Terry Disley: Women and Legends Who Really Rock, 6/12/2009

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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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