Acting in Plays, Singing/Jane Eyre Audition


I will be auditioning for "Jane Eyre" very soon, and am trying out for the part of Jane. I currently have chosen "Unexpected Song" as my audition piece, and have the usual time of 16-32 bars. I was wondering if I should start at the beginning, and cut short the song by going straight to the end after the first verse. The thing is, I am afraid I won't get to get to the showy part at the end, before they cut me off.
Ideas and and input are greatly appreciated, as this audition means a great deal to me.

Thank you so much for your time.


Hello, Sandee --

Thank you for the question. Consider these two options.

The first choice is to begin at “This is not like me at all” and sing to the end. Including the full count on High G, that gives you about 18 measures. It’s perfect. We know the song. You don’t need to set it up emotionally.

The second choice is to start right at “Now no matter where I am”, use the previous measure as the introduction. That means you’re going to give those of us on the audition panel two High Gs in less than 10 seconds. That translates to you being super ready to hit those High Gs no matter how long you’ve been waiting in line. If I’m on the panel and think you’re right for the part and am pressed for time, I might cut you off six measures later. I’ve heard all I need to hear. You will be at the call backs.

Go prepared to sing all of Jane’s material. Once you understand the totality of what she must convey, then you will know how to project that through those few measures of “Unexpected Song”.

I am a vocal coach to working singers in the San Francisco Bay Area. Check out my web site:

I'm also an entertainment and cultural critic for – and Classical music reviewer for – Let me know when you're ready to come to San Francisco for some vocal coaching. I’m also available for lessons on Skype.

See my 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:

On “The Joyless Street” at the Silent Film Festival—An Interview with Matti Bye

THE GERSHWINS AND ME – A Conversation with Michael Feinstein

Introducing Cheyenne Jackson and Alexandra Silber as San Francisco Symphony’s Tony & Maria in “West Side Story”

Nathan Gunn Is ‘Yeshua’ in San Francisco Opera’s “The Gospel of Mary Magdalene”

Natalie Dessay on ‘Becoming Traviata’—French Soprano bids ‘Adieu’ to opera stage

‘Tales of Hoffmann’ Fizzles at San Francisco Opera

‘A Grand Romance’—A Spectacular CD from pianist Jeffrey Biegel

Philippe Sly Debuts In 'Cosi fan tutte' at San Francisco Opera

Nicole Henry redefines the '70s with her latest CD, 'So Good, So Right'

THE GREAT GATSBY—F. Scott Fitzgerald Classic goes Three Dimensional

'FILLY BROWN' — An Extraordinary Film from Youssef Delara and Michael D. Olmos

Nonsemble 6 presents Schoenberg's 'Pierrot Lunaire' – in corsets

Tenor Noah Stewart Debuts with Berkeley Symphony in World Premiere of New Work by Steven Stucky

Marnie Breckenridege, A Modern Soprano for Contemporary Opera

A Profile of Choreographer John Neumeier and his "Nijinsky"

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

In Conversation with Peter Gallagher – Coming to the Venetian Room

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

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

'Drama Queens' – A Conversation with Mezzo-Soprano Joyce DiDonato

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

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

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

Tom Judson Is Making It Big In San Francisco

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'

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

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

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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