Acting in Plays, Singing/Audition Questions


Auditions for The Sound Of Music are coming up at a local theatre of mine, and I just have a few questions about auditioning for it.

My first question is: Am I even ready to audition for this? I'm not really aiming for a specific role in the musical. Anything is fine. But the theatre is a regional theatre and pretty professional. I'm not sure if I should audition. I have only been in one real musical, and it was my high schools. I was in the ensemble. Long story short, I don't have that much experience. The people who audition for these shows have experience. I don't know if I'm even qualified to audition. I've taken a few theatre classes though. Two classes I took were at the theatre that's doing ASOM. But should I wait until I have a better looking resume to audition for stuff like this, or should I just go for it anyway? (I'm only 16 by the way. They are casting children locally too.)

**Ignore these next questions if the answer for the first question is yes, I should wait**

Question 2- What should I wear? They said wear dance shoes and comfortable clothes. Should I wear sweats or something a little more fancier? I don't want to walk in under dressed. I don't want to walk in over dressed either. Should I bring a change of clothes? I've heard people say "wear the same thing you did in your headshot." Should I do that?

Question 3- What kinds of things should I put on a resume? I've been in a middle school skit. Everyone in the 8th grade had a do a mini skit and preform it for the entire 8th grade. I played Mr. Van Daan in my groups skit based on The Diary Of Anne Frank. I also helped a friend out in a talent show in high school. She was singing Popular from Wicked, and I played the witch. I stood next to her, spoke two lines, reacted to what she said, then left the stage. Do those two things qualify as theatre credits I can put on a resume? As for film credits, I filmed two things for high school. They were projects for English class. I helped my brother out with his, and my English class group did one. Can I put those as a film credit? I also might be singing a solo for my choirs night of love songs concert. If I do, can I put that on a resume? How should I set my resume up as well. I'm new to this, sorry!

Last question- What should I sing? Again, I'm auditioning for A Sound Of Music. I'm not looking for a specific role. I'm not quite sure what voice part I am. I sing soprano 2 in my choir. My choir teacher also thinks I'm a soprano. But I can't sing songs that are too high. Nothing Opera. I don't want any songs from A Sound Of Music either. A show close to it would be nice though.

Sorry if I rambled on or sounded know-it-all-ish. I'm really new to this. Ty so much in advance!!!! :)

Hi, Meg –

Thank you for the question. I appreciate all the surrounding information.

You are on the first step of the journey of a thousand miles. I cannot answer all your questions in one response. Nevertheless, I can help with your approach to the song you are going to use at your audition. And, yes, you should go.

Whenever possible, sing another song by the same composer. In this case, Richard Rodgers. Consider any of the following:

It Might As Well Be Spring – STATE FAIR
I Enjoy Being A Girl – FLOWER DRUM SONG
A Wonderful Guy – SOUTH PACIFIC
A Lovely Night – CINDERELLA

Look at "A Lovely Night" on the URL below:

Notice the information in the margin on the right. The site only shows the first page of the song. In this key (F Major), the range of the song covers the octave between C4 (Middle C on the keyboard) and C5. Notice the transposition options. Given your place in Choir as a Soprano 2, you may want to transpose the song up to G major. Sing through the song first in both keys. Which one shows you off the best? While you're on the site, check out other shows composed by Richard Rodgers.

Remember that musical theatre voices need to be heard out to the back wall.

Everyone who wants to be in live theatre has a story about their very first audition – no matter where it happens, i.e., in high school, for a church choir, an audition to get into the Music Department of a certain university, etc. Then there's the first professional audition, i.e., for a community theatre, a regional theatre, a National Tour, etc. And then there's Broadway.

Whatever you choose to sing, perform it in front of a friend, a teacher, or a family member first. You will then know how you react to constructive criticism and – after you get past that – what parts of the song or something with your delivery that might need some improvement prior to the audition.

What to wear? For a musical? Something you can dance in when the Choreographer says, "Here's the pattern. Show me."

Check on-line about the construction of a résumé – a Beginner's résumé.

SOUND OF MUSIC is a very popular show. Make sure you listen to the Original Cast album which starred Mary Martin. Understand the Cast of Characters in relationship to your age and appearance (what you register to the judges) and, of course, to your vocal abilities. In other words, know what everybody else knows about this show that's been around for over 50 years and available as a film since 1965. I know the role they might consider me for and what I would sing to compete for it.

How about you? Who might you be in this show?

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also an entertainment critic for – and Classical music reviewer for – Let me know when you're ready to come to San Francisco for some vocal coaching.

Check out my web site:

See my recent interview with popular TV host, David Perry, on "Ten Percent":

Below are links to my articles and youtubes on the San Francisco Bay Area entertainment and cultural scene:

Final Performance of SF Ballet's Program I – Sunday matinee at 2 PM, 2/3

Peggy Cummins Honored at San Francisco's Noir City Film Festival

"Christmas Holiday" – at the Deanna Durbin Festival, Stanford Theatre, 12/21-23

In Conversation with Peter Gallagher – Coming to the Venetian Room

Melody Moore steps into Tosca — Opening Night at San Francisco Opera

Patricia Racette – A Definitive 'Tosca' at San Francisco Opera

'Moby-Dick' opens at San Francisco Opera: A Conversation with Composer Jake Heggie

Vasily Petrenko, BRIT Male Artist of the Year, Conducts SF Symphony, 10/5–6

Marco Vratogna Is Sensational as Rigoletto at San Francisco Opera

A conversation with Joshua Bell, featured guest artist at opening of SF Symphony, 9/19

San Francisco Opera Opens 90th Season With Verdi's 'Rigoletto'

Jazz vocalist Nicole Henry makes San Francisco debut

Norma Shearer and Joan Crawford duke it out at The Castro Theatre's 90th Anniversary

San Francisco, starring Jeanette MacDonald, to be featured at the Castro Theatre's 90th Anniversary

The Wizard of Oz Meets the San Francisco Symphony

The "It" Girl, Clara Bow, A Featured Star at the San Francisco Silent Film Festival, July 12–15

Jun Kaneko's 'Magic Flute' Is Stunningly Visual

Samuel Ramey is Leo the Great in San Francisco Opera's 'Attila'

'Victor Herbert, Collected Songs' – A Great CD

Tom Judson Is Making It Big In San Francisco

A Chat with Dominique Labelle, featured this week in PBO's 'Alexander's Feast'

A Look at Gennadi Nedvigin, Principal Dancer with San Francisco Ballet

Organist Christopher Houlihan Makes A Powerful Debut at Davies Symphony Hall

RICHARD WINSOR – An Interview With the Star of 'Matthew Bourne's Swan Lake in 3D'

EDDIE MULLER – On the Slow Death of 35mm – An Interview with the "Czar of Noir"

DEANNA DURBIN – The Leading Lady of NOIR CITY, Wednesday at The Castro Theatre

THOMAS JANE – An interview with the star of HBO's "Hung" and 3D Thriller "Dark Country"

KRISTIN CLAYTON– A Conversation with "The Diva" of Teatro ZinZanni

DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK

CAMERON CARPENTER – An Interview with Seán Martinfield

AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield

MARNIE BRECKENRIDGE – An Interview with “La Princesse” of Philip Glass’ Orphée

A Conversation with Elza van den Heever

CUBAN BALLET – An Interview with Octavio Roca

A Look At "Giselle" with Ballerina Lorena Feijóo

ZUILL BAILEY – A Conversation

Best regards,
Sean Martinfield

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Sean Martinfield


I am a professional vocal coach in San Francisco. I have published over 3300 responses related to vocal training - particularly as it relates to Musical Theatre, Pop/Standard, and Opera. I have 30 years of experience as a personal trainer to working 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 can assist you with your song selections and help you build an audition portfolio that demonstrates your vocal category and meets the requirements specified in the audition notice. I have created a vocal methodology, "The Belter`s Method". It will enable those in Cabaret and Musical Theatre to practice more efficiently because it focuses on the vocal demands of professional performers and will keep you performance-ready. If what you want is a better voice and more control over your career moves and choices, contact me at: I am also a music and cultural critic for and I interview internationally recognized musicians, singers, dancers, and recording artists -- particularly those who are now appearing or scheduled to perform in San Francisco.


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 kids 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. 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:


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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