We are constantly working to improve Schools for Theatre to make our website as easy to use and informative as possible.  Part of this work is recognizing what our visitors would like to read and experience.

We are conducting a survey of our users to find out how we can better serve the theatre community through our website.  We are truly appreciative of your constant efforts to support what we do.

As a “thank you” for filling out our survey, we are giving away two (2) free theatre tickets to any show you choose anywhere in the world (up to $150 in value) for the person who we feel offers the most productive, thorough and informative information in their survey.  From Broadway to national tours, to regional theatre to the West End… any show you choose!

For your chance to win, you must fill out the survey by January 31, 2010.

Thank you again for taking time to assist us in our efforts to serve you better!

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There are many different opinions on how you should arrange your musical theatre audition book, so everything that I am about to write is my opinion.  I am coming from two backgrounds as a pianist for auditions and an actor, since I have had experience in both.

The Three-Ring Binder

I think the best way to organize your musical theatre audition book is in a three-ring binder.  Like my last post, you can purchase these at Staples or Office Max on the cheap.  I would purchase at least a 1″ to 1 1/2″ binder.  This way, when the accompanist is trying to turn pages in the middle of the song, the pages will turn smoothly without getting caught on the binder.

Make sure to purchase a binder that has pockets as well.  These pockets can hold all kinds of important information like, low and behold, your headshot and resume!!!

Also, make sure that you purchase hard cover binders as opposed to the flexible or translucent binders.  Because the covers of the flexible binders are flimsy, it is difficult to keep them open on the piano.

And please, no binders with crazy designs!  Just a plain, simple, solid color will do.

Plastic Sheet Protectors

All of your songs can be organized in plastic sheet protectors.  You can also purchase these on the cheap and in bulk at Staples or Office Max.  When organizing your songs in the plastic sheet protectors, make sure that the pages are double-sided so the pianist has to turn pages as little as possible.

There are a few different kinds you can buy.  I would purchase the non-glossy ones to reduce glare on the page.  There are also heavy duty and light-weight protectors.  I prefer the light-weight protectors because it is easier to get your pages in the protectors.  Sometimes putting pages in the heavy duty protectors feels like the fight of your life.

The Music

In your musical theatre audition book, you should certainly have the basics:

• Legit up-tempo
• Legit ballad
• Contemporary up-tempo
• Contemporary ballad

Let’s quickly review what the definition of “legit” is.  I think of legit as any song from a musical that was written on or before 1960.

That being said, let’s discuss up-tempo versus a ballad.  In my opinion, any song that falls somewhere in between these two categories will always be categorized as a ballad.  Make sure that your up-tempo is clearly an up-tempo, and can’t be mistaken for a ballad.

In addition to these songs, I think you should have the following:

• Comedy song
• Rock song
• Pop song

The comedy song might be the same as one of your up-tempos, but if not, should be a part of your collection.

Rock and pop are very different, so don’t confuse the two. When I think of rock groups, I think of Aerosmith, Van Halen, U2, The Police and The Rolling Stones.  When I think of pop groups, I think of Backstreet Boys (yes, I said it), Destiny’s Child, Justin Timberlake and Natasha Bedingfield.  Listen to some of these artists to hear the difference.

Neither of these songs should be from a musical, but should be from a real rock or pop group/singer that you would hear on the radio.

What Order Do I Put the Songs In?

Whatever order is easiest for you.  Usually, you will be the one turning to the songs and placing them at the piano, so whatever order helps you access these songs the quickest is the order you should choose.

ONE TIP: If you have to prepare multiple songs for one audition, tab the pages so the pianist doesn’t have to go riffling through your book to find your music.  You can purchase some Post-It Note Flags to stick on the edge of the pages.  That way, you can remove them and move them around for the next audition.

What other tips do you have for preparing your musical theatre audition book?  I’d be interested to hear what your opinion is on this article, and if you have any other ideas that would be helpful, so leave your comments below and share your thoughts!

It’s about that time of year when eager prospective college theatre students begin their cross-country journeys to audition for theatre schools.  Here is a list of things that you MUST remember to pack for your journey.

Headshot/Resume

Your headshot can be anything from a professional shot to a photo you took with your digital camera.  There are a few valuable rules to remember about your headshot:

• The only person that should be in the photo is you.  No friends, family members or pets.  When colleges go back to look at your photo, they don’t want to have to guess which person was you.
• Try not to hand in Polaroid photos.  Actually get a photo developed.
• Make sure the quality of the photo is good.  No blurry shutter shots or sepia toned images.  A black/white or plain color will suit you fine.

You can find some tips and tricks for finely crafted resumes.  The only thing I wouldn’t agree with?  Your resume should be 8″ x 10″.  This way, when they stack your resume up with others who brought professional headshots, they will stack neatly.  Yes, this means you will have to trim the edges off of your 8 1/2″ x 11″ print.

Audition Outfit

You may be used to auditioning for your community or regional theatre productions in jeans and a T-shirt, but now is a great time to break that habit.

Men: wear a nice shirt, slacks (don’t forget a belt) and dress shoes.  A tie and jacket are optional, but can always turn up the style notch if you wear them.

Ladies: a nice dress, or skirt and top.  In my opinion (and it is only an opinion), I think women should stay away from dress pants.

Whatever you wear, make sure that you can move comfortably with a full range of movement.  Also, stay away from wild prints, crazy hats or anything that will detract from your performance.  Wow them with your talent, not your wardrobe.

Dance Clothes (for Musical Theatre or Dance auditions)

The same rules apply as above, especially making sure you can move comfortably.

You might think that dance clothes cannot be dressed up, but I have certainly seen dance outfits that look nice and flatter those who are wearing them.  Before making the final decision on what to wear, try it on and take a look in the mirror.

Men: NO JEANS!!!  I can’t tell you how many times men wear jeans to a dance audition.  How can you move comfortably in jeans???  Dance slippers or sneakers are preferable, but if you don’t have them, sneakers will be fine.  Just make sure you can turn in them.

Women: Character shoes should work for your feet, but bring your ballet slippers and jazz sneakers just in case.

Both: I have never heard of a college theatre dance audition that asked you to do any tap other than soft shoe, but if there is any doubt at all about whether you should bring your taps or not, contact the school and ask.  Better prepared than not.

Audition Book

Make sure that all of your songs are hole-punched in a three-ring binder.  This way, it is easy for the accompanist to flip through the pages while they are playing.  When I play for auditions, I prefer when actors place their songs in the clear plastic sheet protectors you can buy at Staples or Office Max.  Your book is also a great place to store some extra headshots and resumes.

iPod or Discman

I’m sure you can find many uses for these, but here are a few I can think of:

• Some people like listening to music to help them relax before an audition.
• You can have your audition songs or accompaniment to listen to.

Other Items

• GPS or Printed Driving Directions
• Printed Hotel Reservations
• School Paperwork (copy of application, school brochures, etc)

What other items can you think of to add to the list?

Advocate for the Arts has set up a very easy-to-use page on their website to help users contact congressmen, state and local representatives, asking them to support arts education in our schools.  The page can also help you find all of the local media outlets if you would like to contact them directly.  Visit the Advocate for the Arts website to learn more and participate in this worthwhile cause.

I just watched Susan Blackwell’s new internet show, “Side by Side by Susan Blackwell” on Broadway.com, and I simply have to share it with you.  From seeing her in Speech & Debate at the Roundabout Theatre to [title of show] on Broadway, her brilliant presence and spot-on timing is hysterical.  I look forward to seeing more episodes of this hysterical show!

I have seen quite a lot of message board posts lately where students ask “What are the best musical theatre schools?”  I think what they should be asking is “Which musical theatre schools have the best reputation?”

These two questions are completely different.  The first question speaks about the opinions of one person, while the second question speaks on the mass public opinion of the school.  After all, there are many things that should be considered when deciding what the “best school” is for you.  And your criteria may not be the same as the criteria of others.

Here are a few things you should consider when applying for a school:

What is your budget?

Unfortunately, as the economy goes bust, it seems that the average price to attend a college or university rises steadily.  Let’s hope the current administration can do something about this.  In the meantime, you have to take an honest look at your family finances and decide what your budget is.  Don’t forget about a FAFSA loan, and if you are a minority, you may apply for special loans from the government.  There are also many scholarships and grants available, so don’t be afraid to exhaust all of your options.

You can find more information on financial aid, scholarships and grants on our Resources page.

What kind of program are you looking for?

Are you a die-hard theatre fanatic, or are you looking to try other things as well?  This could be the difference between attending a conservatory of applying for a liberal arts school.  If you need deciding, I wrote a fantastic article (“BA, BFA, PhD, Certificate… What’s the Difference?“) (and yes, I am tooting my own horn) that will help establish the difference if you are confused.

Should the school be close to home or as far away as possible from home?

I know when I started applying for schools, I was ready to see a new place and try out a new atmosphere.  Don’t get me wrong, I loved growing up in Virginia, but I was curious to live in a big city to get the feel of what it would be like to live in NYC.  There are others who want to study theatre and get a job in a regional theatre near their home.  This is a big decision that you should think hard about.  I know many people who headed to college in another state only to realize that they were homesick and not ready to be that far away.

What kind of campus would you like to live on?

The one (and only) thing that I might have done differently when going to college was choosing a school with a real campus.  You know the one I mean; the grassy knoll, the Quad, old brick buildings and a lot of space to play football with the boys on the weekends.  I attended a school with a city campus, and looking back, I sometimes feel that I didn’t get the REAL college experience.  Others might think that a city campus would give them more opportunities to attend cultural events and be a part of a metropolis.

If you can’t afford to drive around the country to visit all of the schools you are applying for, you can use a site like eCampusTours.com to see the schools.

What kind of staff would you like to work with?

It is so important to make contact with some of the staff of the schools you are applying for.  When I went to visit one school on my college tour, I showed up and no one was there to show me around.  I had even called ahead to let them know I was coming!  Is this the kind of staff you want to work with?

Does the school offer assistance in finding work after you graduate?

This question might be the most important of all.  If a school takes all that time to educate you just to drop you off at Broadway and 42nd Street with a suitcase and a handshake, then they are not following through with their promise to help you succeed.  Does the school offer a showcase, interviews with professionals or portfolio assistance?  Does the school offer an audition techniques, portfolio or interview class?  Does the school use their contacts in the field to make phone calls and send emails on your behalf?  It sound like hand-holding, but we all need a little hand-holding when we first step out into the real world, and this should be part of your educator’s jobs.

What other things do you look for when applying for a school?

The shell must break before the bird can fly.

— Tennyson

I will admit that before I started running Schools for Theatre, the idea of approaching someone to tell them about what I do and how well I do it scared me.  I never wanted to be that person who people looked at, thinking to themselves that maybe I talked to much or was too sure of myself.

In fact, now that I’ve started attending theatre conferences, I have been forced to climb out of my shell.  Don’t get me wrong!  I am not a shy person with my friends and family or even strangers when speaking about everyday things like the Yankees, the economy or the latest Broadway flop.  But I guess I have always lacked a complete confidence in my abilities.  It is especially difficult when starting a new company.  You don’t know how it will all turn out, and the thought of being bold and confident about a result that is so unknown to later watch it fall through can be embarassing.

But I guess I finally decided one day that it would be more embarassing NOT to make anything of my life, watching all of my friends be successful and feeling left behind.  It is those people who persevere through the unknown future that watch their successes flourish and grow.

Today and Saturday I am attending the New England Theatre Conference Convention in Sturbridge, Massachusetts, and I have been hearing a lot of whispering from some of the other tables about how they have only had 10 or 15 teens come up to their table ALL DAY.  Some of these tables are colleges that offer a wonderful opportunity for teens to learn more about their schools and the programs they offer.  It is also a great opportunity for teens to let the professors at these tables see their faces, introduce themselves and make a lasting impression.

But most of the teens did a quick scan of the room, briefly peering at tables from across the room, but not really approaching to ask questions.  There were handouts and flyers and postcards and CDs and raffles and all sorts of different things to help the students participate in the day.  And all they had to do was approach the table and say hello.

Most of the people approaching Schools for Theatre’s table was adults (mostly high school drama teachers) who were curious and thought that this would be good information for their students to know about.  But how long are you going to make your teachers and directors do the work for you?  Now is the time to learn to get rid of shyness and do for yourself!

Think about it.  If you are reading this blog, then you are probably interested in joining the world of theatre as a profession.  When you walk into the audition or interview, if your shyness kicks in and you cower under the pressure, the director will read it immediately.  When a director has three or four weeks to put up a production, he/she are probably looking for outgoing individuals who aren’t afraid to step out of their shells and try some new things.  You may be the greatest performer alive, but the director might not ever get the chance to find that out because they probably won’t take the chance on you.

It is so incredibly important to have the strength and confidence to approach people and make conversation.  There is so much to learn about the theatre world, and your best teachers will be the people around you.  Use them to your advantage and speak up!  You will be expected in the real world to go on auditions and interviews to get a job or gig, and if you can’t break through the shell… well, little bird, you may never learn to fly.

We are very pleased to announce that our next “Spotlight On…” interview will be with Mary Poppins herself, Ms. Ashley Brown.  From the bio on her website:

Ashley Brown originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Other Broadway credits include Belle in “The Beauty and The Beast”. Ashley starred in the national tour of Disney’s “On The Record”.  Ashley has performed with many orchestras  including the New York Pops at Carnegie Hall (three times), the New York Philharmonic (with Maestro Marvin Hamlisch), the Cincinnati Pops (with Maestro Erich Kunzel), the Indianapolis Symphony (with Maestro Jack Everly) and the Pensacola Symphony.  Current and upcoming projects including starring in the title role of Disney’s national tour of “Mary Poppins” which opened in Chicago in March 2009, a return engagement with Jack Everly and the Indianapolis Symphony,  Keith Lockhart and the Boston Pops (May 19, 20, 2009) at Boston’s Symphony Hall, and a debut album of American Songbook standards to be released late summer 2009.   Regional credits include “Guys and Dolls” and “The Leading Men of Broadway” with the Indianapolis Symphony, “Broadway By the Year: 1956″ at Town Hall in New York City and many shows at the Muny. Ashley studied at the Cincinnati College-Conservatory of Music where she received her Bachelor in Fine Arts degree in Musical Theater. She was honored with the Laurie Beechman Award at CCM.

Ashley has a new album due out on January 12, 2010 entitled “Speak Low,” which will feature famous standards such as “I’ll Be Seeing You,” “My Funny Valentine,” “Smile” and “Speak Low.”  You can listen to the tracks mentioned above on Ashley’s website at www.ashleybrownonline.com.  Or, if you just can’t wait until January to get your hands on the album (I know I can’t!), you can download it on iTunes.

If you have any questions that you would like us to ask Ashley, just leave us a comment on this post and we’ll try to get them in the interview for you.

Well, tomorrow’s the big day!  The first of two days at the New England Theatre Conference Convention.  If you happen to be there auditioning or taking class, please stop by Schools for Theatre’s table and say hello and grab some postcards to pass out to your friends.  I’d love to meet some of the people who have enjoyed Schools for Theatre and found the information here useful.

Also, I will make sure to take lots of photos of beautiful Sturbridge, Massachusetts where the convention is taking place.  Maybe it will entice those of you who can’t make it this year to come next year.  The convention provides a lot of wonderful opportunities for performers to get seen by many different theaters.

Hope to see you there!

NBC Los Angeles has a nice little article called “Famous Acting School Turns 40” about The Lee Strasberg Theatre & Film Institute, which has two locations in New York City and Los Angeles.  Lee Strasberg was known for his “Method Acting” technique, and his technique is still taught in many colleges, universities and studios today.

American actor, director and teacher Lee Strasberg vaulted into international fame when the legendary actress Marilyn Monroe turned to Strasberg to teach her the serious craft of acting in the mid-1950s.

Ever since, Strasberg’s “method acting” has helped launch the careers of several generations of theater and film’s most illustrious talents, and now the “Lee Strasberg Theatre & Film Institute” has turned 40.

You can find more information on the Lee Strasberg Theatre & Film Institute on Schools for Theatre.