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Acting in Plays, Singing/Into the Woods, Floyd Collins, Comic songs...
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Question
Hey Sean!
It's Lila again (the teenaged soprano who occasionally writes to you in need of audition advice) and it seems that I have lots of performance opportunities coming my way in the next few months! It's all very exciting and I would like to run a few different things by you, hopefully it's not too much!
First off I have an Into the Woods audition. Given my vocal range I would be aiming for the role of Cinderella or Little Red Riding Hood. I know people constantly ask you about this show and I'm not requesting you to tell me what to sing, just tell me if my choice is acceptable? I know Sondheim is a must so I'm thinking of doing "Not a Day Goes By" from Merrily We Roll Along and "The Glamorous Life" from the film version of A Little Night Music. I also sing "Green Finch and Linnet Bird" for auditions sometimes so I could use that instead of one of those... thoughts?
A less well known show coming up is "Floyd Collins". I'd be auditioning for the role of Nellie, Floyd's younger sister. The show uses a combination of folk/country and theatre music, so we are required to sing one folk or country song and one piece from the broadway repetoire - for Nellie, preferably one to show off my upper range nicely. For the theatre song, could I use Green Finch? I know Sondheim is usually a no-no for auditions but some of the show's music is quite difficult and it would be good to sing something I already know well. I also thought about 'Lonely Goatherd' from The Sound of Music, because the character is required to yodel, and that song has some nice top notes. Frank Mills from Hair is another of my regulars, although it may be too contemporary if I'm also singing a pop song. What would be a good contemporary folk or country song to use? I considered Joni Mitchell's "River" or Dolly Parton's "Coat of Many Colours".
Lastly, I will be singing in a showcase or competition in a few months' time. There are many genre sections and I am to perform in all the musical theatre categories. I've found songs for each (ballad, contemporary, golden age, etc) except for the "comedy song" category. I need a soprano - or perhaps mezzo - song that is funny. And NOT Popular from Wicked. Or The Girl in 14G. Or Taylor the Latte Boy. Though I do love Ms Chenoweth, her signature songs are all sung to death by girls my age. (I do like Wicked, but if I hear anything from it sung at an audition or showcase again I will scream!) I have thought about "I Speak Six Languages" from Spelling Bee, and "By the Sea" from Sweeney, but past that, I can't think of much! I am not a real brassy belter type which makes it difficult to find comic songs.
Sorry for so many questions at once!
Hello, Lila –
Yes, you have too many questions.
That's not a reprimand. It's to say that you need to be doing a whole lot more about familiarizing yourself with the Broadway repertoire. No one ever chose my repertoire for any of my auditions, including my coaches. I don't have a clue what you sound like or how you come across especially under the pressures of an audition or performance. It's true that the roles of "Cinderella" and "Little Red" are both sopranos. But they are two totally different kinds of people – starting with their age and sexual appeal. Think of this – before you open your mouth to sing, the Audition Panel has already sized you up. Who do they see standing in front of them? Cinderella or Little Red? Which role do you think your competitors see you as? Especially those who you would acknowledge as your stiffest competition because they instantly register Cinderella-type or Little Red-type.
It's not about being a versatile actress and knowing in your heart that you could play either role – given the right opportunity, etc. It's about Image. Sometimes it's about fitting the costume. And then it's about your voice. So? Which is it? If you're going for "Little Red", don't sing "Not a day goes by". If you're the Princess-type, sing "Green finch and linnet bird" – and it better be really-really accurate because everybody knows it.
For FLOYD COLLINS, consider "Leavin's not the only way to go" from BIG RIVER. Country and folk music are not my department.
"Comic songs" are not confined to the cloying cuteness of the Chenoweth-variety. Nor do they need to induce gales of laughter. The last thing you should do is a song that is not in your range. For whatever you choose, it's all in the delivery. If you totally get the role of Mrs. Lovett in SWEENEY TODD, then you will understand the humor – the crazed and very dark humor – within her song, "By the sea".
Practice in front of a mirror. Present your stuff in front of your best friend about a week before the audition. I'm sure you'll have another question by that point.
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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