Have you ever wondered how much movement is too much movement in an audition?  

Have you struggled to find movement that feels authentic to you?  

In this episode, Roger Ellis (@rogerellis), head of movement in the MFA Acting Program at Northwestern University, shares how he develops character, creates choreography, and develops a directorial vision through the lens of movement. 

He pulls back the curtain on his creative process and reveals the specific tactics he uses to devise choreography, dig deeper into a show’s themes, and how to bring out each actor’s truest self.

Roger Ellis (they/he) is a movement director and filmmaker investigating the mixed reality of Black-queer-aspec experience. Roger is the original director of Nikki Lynette’s Get Out Alive (Steppenwolf, film adaptation, National Alliance for Musical Theatre). Current projects include the documusical series Unhappy Songs About Unhappy Things, sound installation Interstitial and the short film Emergency Contact. Ellis is an assistant professor and head of the movement area for the MFA Acting Program at Northwestern University.

In this interview, we discuss:

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Ever wonder what it’s really like to WORK a National Tour of a Broadway musical? I mean, like being in BUSINESS as an actor and dealing with contracts, agents, and managers?

In this episode, April (@apriljosephine) shares her journey as an actor in New York and how she booked the First National Tour of Mean Girls. She admits that she had to learn the ropes of the business side of things by asking other actors while on tour. She also had to get active on the Equity website and find things out for herself.

In this interview, she tells you all the things she wish someone had told her, including:

• The benefits of self tapes for actors with learning disabilities

• What to look for in an agent

• How and when do you pay your agent and manager

• The audition and callback process for the First National Tour of Mean Girls

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A disarmingly honest conversation about career, loving yourself (ie your voice), and taking on the identity of "artist."

In this episode, you’ll hear Sasha talk about finding success in unexpected opportunities like workshops, readings, and cabaret shows. She also shares her honest realizations about fighting her “type” and coming to terms with her voice (which she now loves, btw).

Discover how training your brain and neurological system can instantly yield more freedom, control, and flexibility in your voice.

You guys, I’ve seen Kimberly Moller’s work first hand, and I have to say - it’s like magic!

In this episode, I ask Kim all my questions about how neurology (all things nerves and nervous system) affects our voice. How can we improve tone, resonance, and control so that we feel more freedom and ease as we sing?

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In this 2-part series, I’m going to tell you exactly how to mark your sheet music so that the accompanist has all the information they need to play well and in sync with YOUR version of the song.

Today’s episode covers

• how to mark the cuts inside your song

• whether to use highlighters

• what to do if you’re changing lyrics

• how to clearly mark your ending

• and even a short tangent on Bruce Willis (So there’s that.)

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Learn the 6 pieces of information that MUST be on the first page of your audition cut.

Do you worry the accompanist won’t play your song the right way?

Well, worry no longer, friend.

In this 2-part series, I’m going to tell you exactly how to mark your sheet music so that the accompanist has all the information they need to play well and in sync with YOUR version of the song.

Today’s episode is a detailed run-down of what needs to go on the first page of your audition cut.

For most of us, we’re starting our song somewhere in the middle of the song, right? Well, there’s a ton of information that the accompanist needs to know that is ONLY ON THE FIRST PAGE of the music.

So, you need to transfer this information to the page you’re starting on.

I’ll also cover best practices surrounding binder choice and the age-old question: to use sheet protectors or not?

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Let’s talk about 3 ways you can create contrast in your song choices and show your range of abilities and skills!

So you’ve got an audition coming up and they want you to bring “two contrasting songs.” What do you choose?

Do you find yourself paralyzed by this question?

Or at a minimum, staring at your audition book with a dazed and confused look as you struggle to decide which two songs to sing?

Well, let me help you out!

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Ever wonder what you should be writing into your sheet music during rehearsal?

When I’m music directing a show, I have a very specific list of things I want singers to write down in their score. These are stylistic choices that go beyond what’s written on the page, and when everyone performs them as a unified ensemble, the music elevates to another level of nuance and professionalism.

But, what exactly are these “things” I’m telling them to write down?

Friend, let me tell you!

Today, I’m sharing nine essential music markings you should be writing in your score during every rehearsal!

Some of these markings are basic and others involve higher level musical analysis. But, ALL of them are integral to helping you:

Learn a song with precision and accuracy

• Perform musical phrases with consistent interpretation choices

• Sing in tune with other singers

• Elevate your ensemble singing skills

• And improve how you communicate with your music director and accompanists

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You guys, this episode is GOLD!!!

I sat down with Jacole Kitchen, Casting Director for the La Jolla Playhouse (San Diego, CA), and asked her all the questions I’ve been dying to know about the casting process and what directors and casting directors are looking for in auditions. And, boy did she deliver!

We talked about:

• What is the role of a casting director?

• What place does “type” have in today’s climate of color-bold casting, reimagining roles, and creating equity for actors of all backgrounds?

• What makes an actor stand out in the audition room?

• What is expected in a self-tape?

• And so much more!

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Hey friends, in today’s episode we are talking repertoire suggestions from the rarely done (yet Pulitzer prize winning) musical, Fiorello! (1959).

From the writing team of Jerry Bock and Sheldon Harnick (also Fiddler on the Roof and She Loves Me), this Golden Age show has a score that alternates between brassy, energetic uptempo numbers and string-driven bittersweet ballads. Throughout all the songs, there is wit, humor, and emotional depth, and totally relatable POLITICAL COMMENTARY!

I’ll share the specific songs that you can pull out for audition material and cabaret shows as well as the ensemble numbers you can use with your college and high school students.

I hope this helps you find some Golden Age material that feels fresh and not overdone!
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Friends, are you constantly worried you’re singing a song that’s overdone for auditions? Do you worry you won’t stand out from the crowd and that maybe, GASP, someone else will sing the same songs as you?!

OR, do you have this undiscovered gem of a song and you’re not sure if it’s a good choice for your audition?

Well, I believe there’s a time and place for every song - both the well worn classic tune and the undiscovered gem.

In today’s episode, I’m going to walk you through the pros and cons of each type of song - the Familiar song and the Lesser Known song - so that you can make your decision with confidence and go into your audition without any apprehension.

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Hey friend, have you ever wondered “why does my version of this musical theatre song sound so plain in comparison to the cast recording?” Or maybe you wondered, “how can I differentiate my performance from so-and-so’s famous Broadway version?”

Well, I’ve got you covered, boo!

In this episode I walk you through a process I call “shaping a melody,” a skill that all singers MUST have.

Shaping a melody is about making choices about how to interpret your song beyond the instructions given on the page. All those little black notes are just the beginning! Shaping a melody is also the key to creating your own unique version of a song while staying aligned with the appropriate style and genre of the song.

Press play now, and learn the 3 specific ways you can shape your melody that will transform your song from ho-hum to heavenly.

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Hey Friend!

In today’s episode I’m laying out the 3 tier system I use with clients to help them create a diverse and powerful audition book that also showcases their strengths and personality.

I’m talking all about how you can show the creative team who you are both as an artist and as a PERSON, as well as making sure you cover your bases with a variety of music styles.

If you’ve been needing to revamp your audition book and find songs that better reflect who you are right now and will actually help you book the shows you love, then you’re going to want to listen to this episode.

Grab a cup of tea and a notebook and let’s go!

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Hey friends, it’s been a minute since I posted a new episode! In today’s episode I’m pulling back the curtain and sharing why I had to put down my podcast for 5 months, why I’m back, and how I’ll be moving forward with the show.

If you’re feeling burned out, overcommitted, or feel like time is slipping through your fingers, then this episode is for you. You’re not alone. I was feeling all those things, and I didn’t know how I was ever going to get on top of it all.

The answer? Taking a FULL STOP on my podcast. It was super scary and I thought I would lose everything, BUT what actually happened over the next 5 months was truly transformational.

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Whether you’re a young actor or a Broadway veteran, chances are you’ve had a horrifying audition experience. Ever had the accompanist stop playing in the middle of your audition? Or did you show up late and nearly miss your audition appointment?

In this special episode, my fellow music director Kathryn Lounsbery and I share our own horror stories from behind the piano as well as submissions from listeners, including Broadway’s Beth Malone (Fun Home, Angels in America).

You’ll hear us talk about Sondheim mishaps, terrible dance calls, callback partners that botched the scene, and directors cutting you off multiple times on a song. The stories are truly terrifyingly brutal and yet somehow also make us feel like we’re not alone in this crazy theatre experience.

If you’re looking for a good laugh or you just want to know you’re not the only one with a horrific audition experience, then take a listen to this episode!

Listen to the whole episode now or use the time stamps below to navigate to specific stories.

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Charles Gilbert is an educator and author who has been training young performers and creating provocative original work for the musical stage for forty years. He started the Musical Theater Program at the University of the Arts in Philadelphia and headed it for nearly 20 years.

He's the author of the book, The SAVI Singing Actor, and the creator of SAVI Cards, a unique training tool for singing actors and teachers. He's a founding member and Past President of the Musical Theatre Educators Alliance, and has taught workshops and master classes in America, the UK, Europe and Australia.

Charles is a professional director and music director whose original works for the musical stage include Assassins, source of the idea for the Tony Award-winning musical of the same name.

In this episode, I talk to Charles about his method for teaching how to be a singing actor. He calls it being a SAVI singer – S-A-V-I, and he’ll tell us what each of those letters stands for.

What’s so neat about his approach is that he has taken this overwhelming idea of storytelling through song and created very specific, bite-sized exercises that help you work on individual elements of technique.

Learn 7 different ways to create an introduction for your audition cut that will communicate the mood, tempo, and key of your song.

Singers, this oft overlooked part of preparing your audition can actually be the key to your success!

When your introduction is well crafted, you’ll be able to launch into your performance with confidence knowing that all the elements of your song – key, tempo, and mood – are exactly as you intended them to be.

How good does that feel?! So good.

In this episode, I offer you 7 different methods of creating an introduction for your song, using segments of the accompaniment that’s right on the page.

How do we perform folk music in the world of musical theatre? That’s the question I’m covering today with special guest, Madison Mae Williams.

With folk musicals like Hadestown, Come from Away, and Bright Star being so popular right now, I’ve been getting a lot of questions from singers on where to find a folk song and how to perform it for their audition.

This category of musical can seem difficult to audition for because the music doesn’t center on vocal virtuosity. How do we show the auditors our vocal skill when the songs aren’t especially rangey?

Well, my guest today, Madison Mae Williams, is here to speak on exactly that.

Madison Mae Williams is a multidisciplinary artist and scholar based in San Diego. She’s a PhD candidate at UC San Diego and her dissertation project focuses on alienation in countercultural performances of the Long Sixties. She received her BA concentrating in musical theatre, poetry, and Africana studies from Hampshire College.

Her other research areas include American musical theatre, the Black Power/Arts movements, horror and the uncanny, performance for children, and the films of Stanley Kubrick and John Cassavetes.

Maddie is passionate about theatre work that is accessible, radical, and increases visibility and representation for people of marginalized identities. She is a member of the Literary Managers and Dramaturgs of the Americas and the Black Theatre Network.

In this episode, we’ll be diving into the following questions:

A breakdown of the creative team, production history, character arcs, and music styles of my favorite show, Little Shop of Horrors!

This dark comedy sci-fi horror spoof by Howard Ashman and Alan Menken is a gem of show full of quirky characters and an effervescent score that perfectly intones the pop music styles of doo wop and rock ‘n roll in 1950’s and 1960’s.

But just why does this show “work?” What makes it tick?

In this episode, I discuss

• how each character’s “want” drives the action of the show

• which plot points are musicalized

• the popular music artists each character is similar to

• SPECIFIC AUDITION SONG IDEAS for each character

• In depth score analysis of “Skid Row” and “Grow For Me”

If you want to get a deeper understanding of how this ingenious show is put together, then press play now!

Learn the hallmarks of Ashman’s lyric style and how he brought the dramatic conventions of musical theatre songs to Disney.

Howard Ashman was playwright, lyricist, and director who wrote lyrics for some of my favorite shows: Smile, Little Shop of Horrors, The Little Mermaid, and Beauty and the Beast. His song lyrics feature delightful rhymes and incredibly specific imagery that enrich the world of the musical.

In this episode, I analyze lyrics from his hit shows and put a spotlight on how he uses songs to

• create more three-dimensional characters

• paint the specific world of the show

• and communicate a character’s “want” through the “I want” song

Songs we’ll discuss…