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Acting in Plays, Singing/Little Women
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Question
Hi,
I'm thinking of auditioning for Little Women the musical, I have a few questions.
First Question: Does the Musical stick to the story, because the last time I read the book, Beth didn't die, but I read the synopsis on the website and it said Beth falls gravely ill and passes on.
Second Question: My sister is in the current Musical that said Musical Company is doing and the Music Director basically told me that if I audition for the next musical there is a very good chance I might get in. I now know that that musical is Little Women. But I'm not sure whether I'm the right image for Little Women. I'm only fourteen, but I'm 5'9, I'm aerian. When I was on the official web site I noticed that none of the March sisters looked younger than eighteen. Is that just because it's Broadway?
Third Question: I'm a good singer, but I'm really only a mezzo. Because Little Women is such a new musical, I couldn't find any sites about the vocal range of the characters. Would I be good enough to secure myself a part?
Thanks, Grace
Hi, Grace –
Thank you for the question.
“Little Women” is a totally American Classic. Watch any of the several film versions, paying particular attention to the one starring Katharine Hepburn. It’s all about rhythm. You must understand the complete story – starting with the book. Take a day and read the book.
Listen to the Original Cast recording after you have watched the film and read the book. Then you will know if you are really interested in this particular project. “Little Women” is a product. Every lead cast member has a replacement. That replacement knows to do that performance. Very often there’s a third. Same thing. Who we like better is an argument about taste.
Which role do you think best suits you? You walk out to sing your song – which of the characters comes to mind when they see you enter the room? They’ve made up their minds before your first downbeat. Now they get to hear you sing. You must prove yourself to be in sync with their product.
Amy, Beth, and Meg are described as sopranos. All of my lyric mezzos can sing these roles. Marmee and Aunt March are altos – because they are the Wisdom Figures. Mature—Old. Jo, of course is an alto/belter. She’s a tomboy who blossoms into a real live woman.
Your job at this audition is to present yourself as a viable candidate for this production. That translates to you singing a song from another show that reflects the stuff of the character you want and are most likely to be hired for.
Do your research. Find two songs – a ballad and an up-tempo. You must demonstrate your vocal skills, acting skills, and professional smarts to however many are there taking notes and reading your resumé.
After you’ve dealt with all of the above – it may turn out you find the show a bore. Many do.
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. This week’s connection is: http://sfbay.craigslist.org/sfc/lss/1405517306.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 and her recent interview with Seán Martinfield. It’s all about singing and the 2009/10 San Francisco Opera Season:
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RENT – Jonathan Larson’s Popular Musical Returns to San Francisco October 6th – 18th
http://www.sanfranciscosentinel.com/?p=44670
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Best regards,
Seán Martinfield
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Answers by Expert:
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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