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 sel ..read more

Ever wonder what it’s really like to work a National Tour of a Broadway musical? In this episode, April shares her journey as an actor in New York and how she booked the First National Tour of Mean Girls.  She also goes deep into the business side of things and shares very specific guidance in the following areas: The benefits of self tapes for actors with learning disabilities What to look for in an agent The difference between an agent and a manager How and when do you pay your agent and manager The audition and callback process for the First National Tour of Mean Girls How do contract ..read more

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). Sasha received her MFA in Musical Theatre from San Diego State University and her BFA in Musical Theatre with emphasis in Acting and Vocal Repertoire from The Boston Conservatory.  Some of her favorite NY ..read more

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.   We also talk about how we can calm our nervous system and anxiety before auditioning and performing with simple physical exerci ..read more

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.) Be sure to  listen to last week’s episode (Episode 41) so that you get the full picture of how to prepare your sheet music so that you have successful experiences with ..read more

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 ..read more

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!   In this episode, I’m going to guide you through three different ways you want to show contrast when you’re pairing a song.   Once you ..read more

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 rehearsa ..read more

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 s ..read more

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 wel ..read more