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Acting in Plays, Singing/Medium - Medium High Range Sondheim Piece for Male for Into the Woods Audition

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Expert: - 1/18/2010


Question
ello!  I hope this question finds you well and in good health.  I am a sophomore in college and am auditioning for our upcoming musical, Into the Woods.  We are required to sing 32 measures of any Sondheim piece that is not in Into the Woods.  I have been searching endlessly online for an appropriate piece but have yet to hear or see anything that really stands out, or that would be appropriate for one of the male roles in the show.  Right now I am leaning towards "Comedy," from A Funny Thing Happened on the Way to the Forum, but I am not crazy about it.  I really like "Johanna," from Sweeney Todd, but it is kinda slow, and most of the stuff in Into the Woods seems to be uptempo.  "Johanna" truly fits in my voice quite well and I feel like I sound pretty good while singing it, however, I'm not sure what the commonly accepted philosophy is regarding audition pieces, insofar as, should they be similar to the pieces and characters for which you hope to get a part as, or should
they just showcase your voice, more or less?  The first day of auditions is strictly singing with no reading at all, with readings occurring at callbacks.  I am not familiar with the directors or anything, so I am not privy to their expectations and casting habits.   I mean, would "Johanna" work as a piece to audition with for this show?  I am not gunning for a specific part; I would be happy with any of the male roles, but it seems that the roles of The Baker and Jack are most compatible with my voice.

If "Johanna" isn't the best idea, what would you suggest I do?  My highest note while maintaining pretty good technique is a G, G#, and my lowest is probably an A, but that's stretching it a bit.  I'm still working on developing my higher technique. Passaggio is still a little iffy too, but in general, I have a nice voice and get solo work at the collegiate level, so don't rule out anything necessarily too hard based off of what I just told you.

I really appreciate your time and consideration.  I can't wait to hear back from you!

P.S. Out auditions are three weeks from today, and the requirements just went up!

Answer
Hi, Robbie –

Thank you for the question. I appreciate all the details.

Do you know the score of INTO THE WOODS?

If you have the confidence to sing “Johanna” in a competitive situation, then that means you are a tenor. Thus, in addition to “Jack”, you are eligible for one of the “Prince” roles. Their duet, “Agony”, is totally within your vocal range. “Johanna” is a beautiful number and reflects the range of either character. By contrast, the role of “the Baker” sits in the baritone range and is at its best when given to a good comic actor.

The fair question is – which of the character “types” is most like you? Jack or the Prince?

If you’re more like “Jack”, then consider “Not while I’m around” from SWEENEY TODD. If it’s a tie for either Prince, then consider “All I need is the girl” from GYPSY and “Buddy’s Blues” from FOLLIES. Also consider “When I’m not near the girl I love” from Burton Lane’s FINIAN’S RAINBOW and “Come with me” from Rodgers and Hart’s THE BOYS FROM SYRACUSE.

Your job is to know the show, the “motivation in the room” for each of the characters you could play, and to prove your tenor vocal chops – especially against the other tenors. Assuming you make it to the second round, you must be prepared to read and to interact with whomever you are paired with. Even if nothing happens this semester, your performance will be remembered come the next musical audition.

I am a professional singing teacher and vocal coach in San Francisco.  When you are in the Bay Area and want to book an appointment, contact me through Craig's List. This week’s connection is:
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You may also contact me through my website: http://www.thebeltersmethod.com/The_Belters_Method/Welcome.html
I am 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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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.

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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

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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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