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Acting in Plays, Singing/1st audition
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QUESTION: I am a Mom to a 6 year old who has been taking musical theater classes and wants to audition for a children's musical, Annie. I have never been through a formal audition and could use a second opinion. She needs a 16 bar cut and I picked Consider Yourself from Oliver. Here is a sample of her voice. http://www.youtube.com/watch?v=e4kmYB7vJKQ
If she looks familiar, I emailed you a few months back to get an idea about what kind of instruction to get for her. We have been starting to work on reading music and she will be starting piano this summer. Thank you for your feedback and suggestions from that previous question. I'd appreciate any input about the audition you have and if you don't think she's ready to audition, your honest opinion is also appreciated.
ANSWER: Hi, Christina –
Thank you for getting back to me. I appreciate your including the link to the video.
Now that we're friends –
Egad! What was that event?
"Consider Yourself" from OLIVER is a good choice. Have your daughter practice it with the Original Broadway Cast recording. You know your daughter's energies and strengths. And all about her ability to focus. Between now and and the day of the audition – concentrate on two things. Pitch and energy. The song is a classic March. No matter which 16 measures you use, it needs a steady and relentless beat. It's a Marching Band-type standard with the same kind of full-out energy as one hears in ANNIE. On the day of the audition, there should be no reason why she can't sing "Consider Yourself" with the same musical accuracy and sense of purpose as any of the kids who ever appeared in a Broadway / Broadway Touring production of OLIVER.
Just as a point of interest – while she was six, Shirley Temple appeared in 12 films, including such stand-out favorites as "Little Miss Marker" and "Bright Eyes" which includes "On the Good Ship Lollipop". Prior to that, she had appeared in 16 other films. The point is – it's all about doing what you've rehearsed when you're under pressure and in front of the Producers who are only interested in you as a money-making Product.
In the real world of Theatre, there is an understudy and swing for every significant role. That means there are at least three people who are just as good as you, maybe better, anxious to go on.
And it doesn't matter whether this production of ANNIE is part of the 2011 season of a community theatre or a miniaturized adaptation for her school and all the parents are going to help produce it. Have your daughter deliver those 16-measures just as though she were actually part of a professional production. You want / she wants to have a way-better presentation than whatever that Dorothy-thing was.
Hopefully, at this audition, there will be a real live accompanist.
Best regards,
Seán Martinfield
http://www.sanfranciscosentinel.com/?cat=65
---------- FOLLOW-UP ----------
QUESTION: Ok, so you asked about the video I sent. It's a "showcase" of songs and scenes from the Wizard of Oz on the day of the last class. The class is open to everyone and everyone gets a part. But, you have to audition at the first class. The kids don't get much individual help with their parts, as the class only meets for 11 hours total to put together a 1/2 hour showcase. She doesn't have any additional training yet, just me. She also doesn't have much in her repertory yet as she's only in Kindergarten!
As I said I'm in unfamiliar territory here. She knows "Consider Yourself" already and it is much easier musically for her. She has always been accurate with pitch on this piece. I did notice that she was occasionally just a hair off of the beat at times. So, we will work on that. I think that the good thing about this song is that it is much easier for her (than Over the Rainbow) so we can really polish it. We have two months to do it.
No live accompianist so we need to bring a backing track. I have a piano accompianment on CD that we have been practicing with, though.
Should she add gestures, movement to the song? Should she try to do the English accent?
If I understand, lots of energy, accurate pitch, exactly on the beat are the key areas. I appreciate your help with this. I really have no idea what I'm doing here! I think I might look for someone to coach her so I don't have to keep bothering you! Thanks!
Hi, Christina –
Add to the list: Take a breath.
By listening to the Original Cast recording and watching the film, she will understand how to listen to the recorded piano accompaniment. She does not need to compound (or confound) her presentation with an English accent.
Best regards,
Seán Martinfield
http://www.sanfranciscosentinel.com/?cat=65
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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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