Acting in Plays, Singing/Opinion Sondheim Audition

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Question
Sean,
I have received a lot of conflicting opinions on whether songs composed by Stephen Sondheim are appropriate for auditioning. I was wondering if you could give me some conclusive explanation of what you believe as well as the majority opinion among musical theatre professionals.

Thank You,
Hannah

PS: I am a high school student (Class of 2012) and my next musical theatre audition will be February or March of the coming year: this question is not associated with a specific audition.

Answer
Hi, Hannah –

Thank you for the question.

I'm sure I've heard the same talk as you about NOT doing a piece by Sondheim at an audition, especially one that is non-specific.

What I don't hear is the simple and common sense reason. His piano accompaniment is too difficult for most players at most auditions.

There are exceptions. Consider a professional theater company producing a Sondheim show. The audition accompanist may very well be their regular rehearsal accompanist. Which means, that accompanist knows how to play Sondheim. Right? If you are auditioning for a Sondheim show, then you should know – before walking out the door – all the material of whatever roles you want to be considered for and be able to sing any of it upon request. What goes along with that scenario is something common to any musical audition. Unless the audition notice states otherwise, you should not sing from the show you are auditioning for. And since it is always a good idea to select another piece by the same composer – obviously, that means something else by Sondheim.

His song list is huge. Sing whatever you want. Just be sure the song is placed in the key that reflects the vocal range of the character you want. There are a number of sheet music web sites that have his material available in downloadable digital format and which can also be transposed.

As a professional vocal coach I know that Sondheim's music is loaded with challenges of all sorts. If I'm the producer, the music director, or even a consultant on the audition panel – I will be listening for your musicianship. You've got to prove to me within 16 bars or less that your voice and musical sensibilities are going to endure the rehearsal process and run of the show.

Another thing to consider about choosing material by Sondheim for a show by another composer – nobody else writes like him. For example, if you're a soprano – "Green Finch and Linnet Bird" from SWEENEY TODD is in no way related to the style or needs of "Laurie" in OKLAHOMA.

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also the Editor and Publisher of SanFranciscoSentinel.com All my articles and interviews provide a link to my personal e-mail.

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Seán Martinfield
SanFranciscoSentinel.com
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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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