Musical theatre is a frankly presentational form of theatre — generally, we do not burst into song or dance at moments of crisis. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.

These qualities should be evident in a musical theatre audition. They can transform a routine audition into a memorable one and make us eager to enroll you as a student.

The personality you project is the basis for your audition. It includes the clothes you wear, the way you introduce your material and your ability to answer questions. Even the materials you choose to perform can be revealing. But remember, please, personality is not an alien persona affected for the occasion — it is just the simple use of the characteristics that make you distinctive as a performer and a human being.

o assist you in selecting suitable songs or monologues, you may want to consider some simple DOs and DON'Ts of Musical Theatre auditions.

• DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."
   
• DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.
   
• DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage.
   
• DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")
   
• DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.
   
• DO NOT attempt songs obviously created for mature characters -- song such as "I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and any Sondheim song written for a mature character. 
   
• DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition.
   
• DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.
   
• DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.
   
• DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.
   
• DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky." And please note that if we do not feel your songs adequately represent your vocal range, we may ask you to perform some simple vocal exercises at the keyboard or present another song.
   
• In selecting a monologue, DO pick material that reflects your strengths as a performer, suits your age and demonstrates the image you wish to create. Differentiate between monologues that have literary value (good pieces of writing) and those that are dramatic (they play well). Opt for the latter.
   
• DO select a piece that allows you to make strong acting choices. Most importantly avoid those hackneyed pieces that elicit groans from the adjudicators ("Tuna fish" from Laughing Wild, "I brushed my hair" from The Fantasticks, "Peter Pan" from 'Dentity Crisis, "Sunbonnet Sue" from Quilters and pieces from the often-performed Brighton Beach Memoirs, Biloxi Blues, The Odd Couple, Night Luster, Nuts and Boys Life.) Avoid monologues from anthologies, and, of course, read the entire play before attempting to perform the speech.
   
• DO NOT select pieces that attempt to shock with their use of bad language or obscene physical action. Auditors are never shocked but often bored! Present the material naturally, and remember that you are using the words of others in order to sell yourself. Through your choice of material and your performance behavior, show yourself to be a person of taste, confidence, sincerity and sensitivity.
   
• DO NOT perform material written for a character significantly younger or older than you are and avoid pieces written in dialect. We want to hear your voice expressing emotion or making us laugh. Yes, you may use a chair, but no props or costumes — and if you must do "Glass Marbles" from Talking With, please DO NOT drop them on the floor!

n the following paragraphs we offer some general advice about the process of auditioning, at CCM or elsewhere. The advice may be "common-sensical," but it will help you present yourself in a mature and professional way.

• DO pay attention to your personal appearance. Look your best. Dress casually but neatly in clothes that allow freedom of movement and are flattering to your physique. We suggest two "outfits"—one for the dance audition and one for the song and monologue.
   
• Make sure your clothes are appropriate both for your personality and for the institution to which you are applying. It may be hard, but take a long, objective look at yourself in a mirror and assess what you see. Decide on your best physical presentation. If you need to lose weight or gain muscle, begin as soon as possible — but please do it safely. Visit the dentist, invest in a new hairstyle, pamper your complexion, learn the fundamentals of make-up, get in shape, start working out or jogging. Exercise your mind. Take a dance class or a yoga class or just get some sleep! Eat well and pass on the double whoppers with cheese. Present yourself as a prospective student who will be fun to teach and highly employable after graduation.
   
• For the dance audition, invest in some basic dance wear -- an ensemble that will show your figure or physique in action. Women may wear character shoes, jazz shoes or ballet slippers, leotards, tights, dance skirts or non-bulky warm-up wear. Men may wear jazz or ballet shoes, tights, t-shirts or shorts. No-one should wear oversized sweat pants or shirts (in fact, you will be asked to remove them!) Sneakers are not recommended -- how can you do a double pirouette when your Nikes keep you nailed to the floor?
   
• DO consider your deportment. That means the way you behave (and are seen to behave) from the moment you arrive at the audition to the moment you leave. Show that you are well prepared and have done your research about the school and the program. Ask intelligent questions, exude confidence as you enter the room, say your name with authority, answer questions in a provocative way, look your best, thank the faculty for their attention and leave with the air of a job well done. And if you are really interested in pursuing the program, write a note to the faculty on your return home. You may do a brilliant audition and ruin your chances by appearing obnoxious. If you seem to have "attitude," are a "diva" or possess an ego the size of Manhattan, you are unlikely to be accepted into a first rate program. On the other hand, you may be a good performer but slink in and out of the room, appear as confident as a Jello on the San Andreas fault and miss your chance. Find a happy medium!
   
• DO be confident. Like yourself. Be proud of who you are. In short, make the faculty want to teach you. Arouse their interest through the sheer force of your personality. Dare to be different -- in other words, true to yourself.
   
• DO ask questions about the school or the program if you wish. Remember you are auditioning the faculty, too. But how shall we say this -- keep the questions logical and to the point. Take the opportunity to talk to our current musical theatre majors— they'll be happy to give you the dirt of the school, the faculty, the classes and the productions. Just remember, the often give us feedback on the behavior of prospective students, too.
   
• For auditions in Cincinnati, please do not bring taped accompaniment or sing acapella. We cannot let you perform without piano accompaniment. Please do not expect the pianist to transpose your music on sight and, please, do not ask us to watch you "lip-synch" to a pre-recorded tape of Jennifer Holliday or Barbra Streisand. Yes, both have happened in the past! For auditions in other cities, bring your accompaniment on a CD (no cassette tapes, please.) We will provide the sound equipment, though, of course, you are welcome to use your own.

o-one can succeed in musical theatre without skills in its three component areas. These are the areas we assess during your audition. We try to gauge your level of accomplishment in each and in all three as a whole.

But we are also looking for more than mere accomplishment. Your skills must be complemented by drive, commitment, confidence and like-ability. Your performance can be greatly enhanced by the way you present yourself -- in fact the "packaging" can transform a pleasant audition into a striking one. Your aim is simple: to convince the auditors that you are the student we most need for the success of our program.

With careful planning you can do just that. If you can audition successfully for a college program by applying these simple guidelines, you will have acquired a skill that will stand you in good stead throughout your career in musical theatre.

A Description of The Various Types of Actors Equity Association Theatrical Contracts

DESCRIPTION OF
EQUITY AGREEMENTS & CODES

Bay Area Theatre Agreement (BAT)
The BAT Agreement is used within the nine-county San Francisco Bay Area in seasonal not-for-profit theatres with fewer than 400 seats and that have not previously produced under a standard Equity Agreement. There are five salary tiers based on a box office gross formula, providing for flexibility in seating capacity and number of performances per week.

Buffalo/Rochester Agreement
This agreement is a modified version of the Special Appearance agreement available only for theatres in the greater Buffalo-Rochester area. There is no health insurance.

Cabaret Agreement
This agreement is applicable for productions presented in cabaret-style theatres where the majority of the audience is seated at tables. In most cases food and/or drinks are served. Performances are limited to 8 per week with no more than two in any one day. Performances may be no more than 90 minutes in length. Touring is not permitted.

Chicago Area Theatre Agreement
This agreement is used in theatres with a capacity of 900 seats or fewer within 35 miles from the Chicago city limits and covers both commercial and not-for-profit theatres. It is a tiered contract with flexibility in seating capacity and number of performances per week. Local touring is permitted on all tiers. Housing and expenses are applicable for overnight tours.

Chicago Showcase Code
This code is for use within the city of Chicago for productions before audiences of no more than 99 persons. Unlike other showcase codes, the "producer of record" and all the performers must be members of Equity.

CORST (Council of Resident Stock Theatres)
Agreement covers Resident Dramatic Stock and is used by commercial and not for-profit producers. The four categories are based on potential weekly box office gross. A resident company of five principal actors and one stage manager must be maintained in all but two productions. No more than 50% of the performance weeks may be for musical productions. Touring is not permitted. Expires: February 24, 2003.

COST (Council of Stock Theatres)
Agreement covers Non-Resident Dramatic or Musical Stock and contains five tiers with different salary minimums. It may be used by commercial or not-for-profit theatres, and must have a season of not fewer than two consecutive productions, or, in the case of a unit tour, perform at two or more Stock Theatres for not fewer than two consecutive weeks. There may be up to four weeks of rehearsal and up to eight weeks of performances per production in one location. Touring is permitted either on consecutive stock jobbing or unit contracts. Expires: December 30, 2001

Dinner Theatre Agreement
This agreement cover theatres presenting consecutive productions where dinners are served either in the same room in which the performance is given or in an adjacent room. Dinner Theatre agreements are negotiated separately for each dinner theatre in each regional area and have differing salary scales. Each production must play no fewer than three weeks and the theatre must operate on a year-round basis. The advertised admission price must include both the meal and the performance; however, 25% of the performances in any given week may be on a performance-only basis. Dinner Theatre agreements are not permitted in New York City, Chicago, Los Angeles or San Francisco, except by permission of Equity. Touring is not permitted.

Disney World Agreement
This agreement covers theatrical performers at Walt Disney World in Orlando. The Disney Company health insurance plan is provided. The Disney Agreement is administered from the Orlando office.

The Guest Artist Agreement
The Guest Artist Agreement is used by not-for-profit educational or community theatres that occasionally employ professional actors. No more than two actors may be employed in any one production under the agreement unless special permission is granted. A stage manager contract is required when there are more than two actor contracts. This agreement contains three salary tiers based upon the number of regularly scheduled performances.

Hollywood Area Theatre Agreement
The Hollywood Area Theatre (HAT) Agreement is used in theatres with fewer than 500 seats presenting productions in the county of Los Angeles. There are four categories based on seating capacity and seven salary levels based on gross box office receipts.

Live Corporate Communications Contract
The Live Corporate Communications Contract, formerly the Business Theatre contract, covers any live production for which the primary purpose is to promote directly or indirectly a product or service, including public or educational services, or to inform groups of employees or clients. There are separate salary rates for multi-week, single-week daily, and half-daily engagements. Bonding is not required, and you are advised that paychecks may be issued as long as 12 business days following the week worked. Touring is permitted.

Letter of Agreement (LOA)
Together with Small Professional Theatre, LOA's are used in developmental situations. LOA's provide theatres the time and flexibility needed to develop into a standard Equity agreement. Every LOA is individually negotiated and, as a result, the terms vary from theatre to theatre and from season to season. Each LOA is referenced to a standard rule book for those provisions that are not specifically set forth in the LOA.

The League of Resident Theatres (LORT)
The League of Resident Theatres (LORT) Agreement is used by not-for-profit professional regional theatres throughout the United States. Some Theatres employ resident companies each season, though most employ performers on a show-by-show basis. Five categories, based on actual weekly box office gross (averaged over a three year period), determine salary and personnel requirements. Local and overnight touring is permitted, but per diem is required when an actor performs overnight tours away from the Theatre. This agreement covers both dramatic and musical productions.

Los Angeles 99-Seat Theatre Plan
This plan is for use in the county of Los Angeles in theatres of 99 seats or fewer.

Midsize Theatre Agreement
The Midsize Theatre Agreement is designed for theatres seating up to 699 outside the office cities. It is to be used for a single production, not for seasonal operations. Payments are determined by the theatre's potential weekly box office. The Agreement does not permit the use of non-professionals; nor may it be used for touring. Housing is provided by the Producer at no cost to the Actor and a per diem is provided.

The Mini Agreement
The Mini Agreement is used in New York City in theatres of 99 seats or fewer and is referenced to the Off Broadway Agreement for its work rules. It has reduced salaries and is only issued at the discretion of Equity.

MSUA (Musical Stock/Unit Attraction)
Agreement was originally designed for use in very large outdoor amphitheatres but now also includes some indoor operations. Sometimes these theatres produce their own shows which they may present at their own theatres and/or tour on a Unit Attraction Agreement or consecutive stock jobbing contracts; sometimes they serve as stops on Stock or Bus & Truck tours. Because outdoor amphitheatres can present only evening performances, such outdoor theatres are permitted to perform seven nights per week. Expires: October 29, 2000.

New England Area Theatre Agreement
This agreement is essentially a modified version of the Small Professional Theatre Agreement negotiated for use by a group of theatres in the Boston area.

New Orleans Area Theatre (NOLA)
This agreement is a modified and expanded Special Appearance agreement, specifically designed for use in the immediate New Orleans area. It is based on the premise that actors and stage managers may be used on a periodic performance basis. NOLA contains three salary tiers, based on the number of performances and hours of rehearsal for which the member is employed. Musicals may not be produced under NOLA. There is no health insurance.

New York City Showcase Code
This local code is available for use in New York City in theatres of 99 seats or fewer. There are two such codes: the Seasonal Code for Funded Non-Profit Theatres and the Basic Showcase Code used for single, commercial productions.

Off Broadway Agreement
This agreement covers those theatres that have fewer than 500 seats in the borough of Manhattan in New York City, but that are not located in the "Broadway District". There are five categories determined by seating capacity.

Orlando Area Theatre
This agreement is a modified version of the Special Appearance agreement available only for the city of Orlando.

Outdoor Drama Agreement
Used by community-based historical dramas. The agreement requires no fewer than four contracts including the stage manager; the majority of these very large casts is apprentices and community residents. Conditions are generally rustic and the roles are physically demanding, including stunts, horseback riding and use of firearms. Expires: September 26, 2002

Pittsburgh Special Appearance Agreement
The Pittsburgh Special Appearance Contract is a modified version of the Special Appearance Contract available only for theatres in the Pittsburgh area. There is no mandatory health insurance under this Agreement.

The Production Agreement
The Production Agreement covers Broadway, National and International Tours. It is also used for touring productions at large performing arts centers such as the Kennedy Center. This agreement can be used by both commercial and not-for-profit producers, for either limited or open-ended runs. It covers both musical and dramatic productions and is the only agreement with provisions allowing non-resident alien performers to work in the United States. In June of 2001, a 401(k) Plan was added to the Agreement. MassMutual provides financial services to help Actors save for retirement. Payment of per diem is required whenever the Actor is required to rehearse and/or perform away from the production's "Point of Organization" city (New York City, Chicago, Los Angeles or San Francisco). For many decades, this Agreement was bargained with the League of American Theatres & Producers. Buena Vista Theatrical Ventures (Walt Disney Company), and the former SFX Company have each negotiated individual Agreements.

RMTA (Resident Musical Theatre Association)
Agreement is used by both commercial and not-for-profit stock theatres for musical seasons. A resident company of no fewer than four principal actors and one stage manager and one assistant stage manager must be maintained for all but two productions. Expires: December 25, 2000.

Small Professional Theatre Agreement
This agreement may be used in theatres of fewer than 350 seats in areas outside of New York, Chicago and Los Angeles. This national agreement, together with many individual Letters of Agreement, form the basis of Equity's Developing Theatre programs. The 10 salary categories are determined by the number of performances and the maximum weekly hours of work. The agreement may be used in both commercial and not-for-profit situations and for both seasonal operations and single productions. Touring is not permitted.

The Special Appearance Agreement
Like the Guest Artist, the Special Appearance Agreement was established to encourage increased employment opportunities. This is essentially a modified Guest Artist Arrangement for use by small community theatres, outside of New York City, Chicago, Los Angeles and San Francisco, that wish to hire individual professional artists and/or stage managers. There are two salary tiers based on seating capacity, box office gross and number of weekly performances.

Stock Theatre Agreements
A Stock theatre presents consecutive productions of different plays with no lay-off or hiatus between productions. The various types of Stock Agreements are: CORST (Council of Resident Stock Theatres); COST (Council of Stock Theatres); MSUA (Musical Stock/Unit Attraction); Outdoor Drama; RMTA (Resident Musical Theatre Association), all of which are listed individually in this section with greater detail.

Theatre For Young Audiences (TYA)
The TYA Agreement covers productions of plays expressly written, created or adapted to be performed for children. There are two forms of contract: the weekly contract and the per-performance contract. Performances are generally done during normal school hours and are limited to 90 minutes in length. In addition to performances, the agreement allows associated "Artist Activity," such as classes with the students. Local and overnight touring are permitted, but expenses are required when actors are required to sleep away from their place of residence.

University/Resident Theatre Association Agreement (URTA)
The URTA Agreement contains four minimum salary tiers based upon weekly box office gross and number of performances. This is available to colleges and universities that employ professional actors and stage managers on a regular basis to perform with students. Visit the URTA Web Site for more information about the association.

Western Civic Light Opera (WCLO)
The WCLO agreement is used in Western Region community non-profit musical theatres. Touring is permitted between WCLO theatres and, under certain circumstances, into theatres that are not signatories to the WCLO agreement. Per diem is required when the actor performs overnight tours away from the theatre.

The Workshop Agreement
Workshop is a special agreement administered by the Eastern Region and is used for the development of new works, usually a musical, and usually prior to an intended Production Agreement engagement. Salaries are lower than standard Production rates in exchange for participation in a percentage of gross box office receipts and subsidiary rights.

• How can I audition for Broadway? 
• What is an open call? 
• What is an agent submission for a Broadway audition? 
• What will I need for a Broadway audition? 
• What is a monologue? 
• How do I prepare for a Broadway audition? 
• What is a 'casting couch'? 
• What is a 'triple-threat'?
• How can I stand out in a Broadway audition? 
• What lessons should I take to prepare for Broadway?