Auditions 101

You know I've sat in on so many auditions now I can't even begin to think of how many hours I've spent listening to potential wannabes.

There's something special about auditions...in fact, I think more people prepare for the audition than the role. With a new round of auditions starting the next few months I thought it might be an idea for me to give potential auditionees some vital tips on preparing an audition. If you want to study it further I'd heartily recommend Peter Mapleson's book "Auditioning For Musicals" (some of his song suggestions are a little out of date but the bulk of the book is timeless)

Song Choice

You've heard it mentioned on Idol/X-Factor many times, but song choice is critical. Many audition panels (especially for amateur groups) require you to sing a song from the show (usually one from the character you're auditioning for) so this eliminates the problem but if you are allowed to sing your own song then make sure it shows YOU off to the best of your abilities. To quote Geraldine Turner:

"Get songs that suit your voice, in at least three different styles and pay to have them well arranged and copied in your key. They should last you for twenty years of auditioning"

I'd also go on to add that the pianist is sight-reading so it's best to make sure your accompaniments are relatively simple. If you're not sure, ask someone that plays how hard the accompaniment is. If you really, REALLY want to do that fast piece of Sondheim then hire the services of a piano player to play for your audition (but always check with the company that it's ok to bring them along). I also want to re-iterate the point about the music being in your key! Sight-transposing is NEVER easy at the best of times let alone in the pressure-cooker that is an audition. It also is unnerving on YOU as a performer to have a piano part being lightly bashed and mutilated to within an inch of its life by some poor piano player who's struggling to remember what key they're in....been there, done that, bought the t-shirt....

Present! Present! Present!

"You audition proper begins the moment you enter the building and does not stop until you leave. The auditioners will be interested in you as a person as well as a performer" Derek Bowsill

One of my absolute PET HATES in auditions is people who are unprepared. People who rock up with no idea of the song they'll be singing, or the dialogue to be spoken. They look like they've just gotten out of bed (and dress accordingly) and spend the whole audition making excuses. I don't care how good you are, if you don't make the effort, neither will I. Dress appropriately, be well-groomed and polite the whole time...and this most importantly....NEVER say "sorry" in an audition. Don't make excuses about your voice, your cold, the lack of preparation because your pet bunny died etc. Let the panel judge you- don't give them a reason to reject you.

Be Open-Minded

You know, there's nothing wrong with chorus- or that small role with two lines of dialogue. Unless you're a top-line star you should never go in for only one role- always be open to a panel's suggestion for you to read for another role- or to be in chorus. But if you're insistent on only going for the one role then don't lie and say you'll take chorus- trust me, panels are like elephants when it comes to memory. they'll remember the people who said they'd be in chorus but then poo-pooed it when offered it.

Prepare Ye!

There are many excellent singing teachers out there. Go to one of them. My first singing teacher told me that everyone can sing- just some people need more coaxing and work than others. Do the effort and get lessons. take a drama course if you're so inclined (even take dance classes!). Trust me, the triple threat is more likely to get roles than not. If you're serious about strutting your stuff on stage then make it happen and put in the work!

Good Luck!

All Shook Up- Arts Theatre, Shedley Theatre, Chaffey Theatre- Matt Byrne Media

One thing that Matt Byrne can't be faulted on over the years is his ability to find obscure shows and put them on. In fact the current trend in Adelaide theatre to staging new shows is thanks in no small part to his willingness to give these shows a run for better or for worse.
A musical featuring a healthy serve of Elvis classics (and not-so classics) is almost guaranteed to get the crowds in and the vocal crowd at the start of the second week of shows at The Arts Theatre was testament to that. Early reviews indicated a number of technical glitches that dogged opening week. It's a credit to the technical crew that a lot of that has now been resolved. There are still a small number of incredibly slow scene changes and some bizarre lighting cues that spoil a couple of numbers and the chorus still struggles to be heard over the loud band and miked principals.
But another thing Matt Byrne always delivers is a dedicated cast, and this one is a beauty. Gavin Cianci struggles vocally against the might of The King and his pitching is an issue in places when singing (and he is not the only one), but his overall performance as roustabout Chad is a delight- full of swagger and cool (helped by his handsome looks and remarkable head of hair).
Melanie Smith is the pick of the singers- backing up her star turn in last years' "Hot Shoe Shuffle"- playing the role of lovelorn mechanic Natalie who becomes Ed- a male roustabout- in order to spend more time with Chad.
Dominic Hodges and Rebecca Plummer make cute couple as a pair of star-crossed young lovers whilst Gareth Wilkes takes the comedy trophy with his turn as nerdy Dennis. Heidi-Rae Abbey is wonderfully sexy as cougar Miss Sandra and Chris Bussey has a grand old time (and a helluva wedding dress) as Mayor Melinda.
But the absolute winners from this cast are Maggie Wood and Russell Ford as Sylvia and Jim. Wood gives us one of the best performances I've ever seen her in, full of sass, and full of heart with a wonderful act two solo whilst Ford times his role perfectly with the right amount of comic timing and tenderness.
Director Matt Byrne does his best to keep his mouth shut as Sheriff Earle but we all know that you can't fight fate....
The chorus are generally good although the male dancing is still very rough as guts in places. Sue Pole has done a great job yet again although some of the later routines lack the polish that the earlier ones do.
Mike Pitman's band has some balance issues with guitar and piano almost being drowned out by the brass section. Quite why Byrne decided they should be onstage is a puzzlement to me. They would be much better served in the pit where the singers can see the conductor and hear the band properly.
All in all though this is a fun night out with many wonderful tunes and some genuinely funny moments (although it must be said that writer Joe DiPetrio's script really gets bogged down in act two). The show could have probably stood to lose a couple of the act two ballads and some dialogue trimmed to make this an really exciting two and a half hour show instead of the almost three hours running time (not a fault of the production but more the original writers).
At a time when a lot of theatre is very dark and depressing it's always good to remember what theatre does best- makes us forget our troubles. This is one show that will do just that.

Author note: Full disclosure- I worked on this rehearsals of this show for approximately six weeks. This review was based wholly and soley on the performance given on the 13th of July at The Arts Theatre.