Acting in Plays, Singing/Into The Woods-the Witch


Since you seem extremely knowledgeable on the subject I was hoping for some advice. I already know the basics of auditioning (nothing Disney, nothing from that show, nothing overdone, shows off range and vocal skill etc) my problem is actually FINDING songs that fit this!! I'm a soprano with a solid belt, and as a character role I think the witch would be a good part for me. I've spent lots of time looking, but I'm still clueless. Help?
thank you so much,
Rina :)

Hello, Rina:

Thank you for the question. I appreciate that you don’t want to hear some commonly understood rules repeated.

Here’s what will help you to have a more effective audition.

The role of the witch belongs to a mezzo-soprano with a strong lower extension.

No one is ever going to higher a soprano to sing this role.

The starring role for a soprano in Stephen Sondheim’s INTO THE WOODS is Cinderella. Learn her song “On the steps of the palace”. The range is A3--E5. Once you know how to sing that, then consider “Green Finch and Linnet Bird” from SWEENEY TODD for your audition.

Also consider “Feelings” from THE APPLE TREE by Jerry Bock

In the meantime, make an investment in the anthologies below. They contain the Broadway material written specifically for the soprano voice. The songs are also published in the original keys:

Singer's Musical Theatre Anthology, Soprano – Vol. 1, revised

Singer's Musical Theatre Anthology, Soprano – Vol. 2

Singer's Musical Theatre Anthology, Soprano – Vol. 3

Singer's Musical Theatre Anthology, Soprano – Vol. 4

Singer's Musical Theatre Anthology, Soprano – Vol. 5

My job as a professional vocal coach and singing teacher is to develop and strengthen your soprano range and to work with you on your audition portfolio.

I am a vocal coach to working singers in the San Francisco Bay Area.

I'm also a music critic for – and – When you want to make an appointment, contact me at:

Below are links to my recent articles and interviews:

Tobias Picker’s Dolores Claiborne—A Daring World Premiere at San Francisco Opera

San Francisco Opera Opens 2013 Season with Boito’s “Mephistopheles”

Audra McDonald joins San Francisco Symphony in Opening Night Gala

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

THE GERSHWINS AND ME – A Conversation with Michael Feinstein

A Conversation with Ted Neeley, Hollywood’s ‘Jesus Christ Superstar’

On ‘Billy Budd’—A Trio from Merola: Alex DeSocio, Thomas Richards, Robert Watson

Lawrence Brownlee—On ‘Carmina Burana’, with the SFSymphony—Tuesday, July 30th

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

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'

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"

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

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'

CUBAN BALLET – An Interview with Octavio Roca

A Look At "Giselle" with Ballerina Lorena Feijóo

ZUILL BAILEY – A Conversation

Best regards,
Sean Martinfield

Acting in Plays, Singing

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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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