BackStage Utah

I'm a nervous auditioner, there's no way around it.  Oh wise patrons of PA, how do you conquer your nerves and stay cool and collected when standing before the panel of directors, giving your all?  Even when I've over-prepared and know my stuff down pat, even when I don't care one way or the other about being cast in that particular show, I get so intensely nervous that my vocals go out the window.  Call-backs or performances are no problem, just the initial audition.

And question two: how should one move while singing in an audition?  I want to avoid being the wedding-singer, the let's-point-out-every-word-with-an-action singer (like all the possibility with "wouldn't it be loverly"), as well as the Zombie (who just stands there blankly staring, expression frozen in "Jr.High Choir Face" mode).  Should one just stand there composed with minimum movement being neither stone or cartoon?  Should you block it out like you were performing? 

*sigh* oh why, oh why do most of the paying theatres around here do mostly musicals?  If all they did were straight plays I wouldn't be in this mess.   

Try to focus your nervous energy into the performance.  Where you get a little trembly, focus on your breathing, especially working your diaphragm to expand just a little bit more.  This should help to relieve some tension, and takes your mind off the performance anxiety.

More, you could focus on the lyrics of the song.  Meditate on them, letting the words sink in like you're hearing the song for the first time.  Let it affect you emotionally, so that it will also help drive the meaning of the song, or at least enable you to "sell" it. 

Also, don't look at your auditioners as an "audience," but rather as cast mates, at least, or as someone you're just talking to, same as a speaking part, only singing.

You see.  This is why I don't audition for musicals.  Because I don't know the answers to these very questions.  I am a nervous singer.  I sound fine in my shower, horrible in front of people.  The strategy I used while doing Rocky was: if you shake your booty enough nobody will notice your bad singing.  Feel free to use that advice in your audition. 

QueenMorgaus wrote on Sep 16^th, 2008 at 2:09pm:


Or do you. 

Thanks, Dark Night, I'd never thought of it like that before.

I have a bunch of tips I could throw out and add to the good ones already suggested on this thread...but instead, I'll start with a question:

Since you say ONLY the initial audition (not the callback/performances) are the problem, can you describe how your mental focus differs from one to the other? �What are you thinking about when you're singing in the two different situations? (I have a hunch about it...but I just want to see your answer in YOUR words).

AND...I'm assuming that you're confident in your reading skills since you prefer straight plays. �Do you think that since you have the opportunity to display this confidence in callbacks and performances, that feeds over into your singing in these situations? �Since you don't get the chance to display this (usually) in the initial audition, maybe that's one reason your nerves get to you. �If this is the case...maybe atleast you can find some way to reference your "reading confidence" when you go for the initial singing audition?

QueenMorgaus wrote on Sep 16^th, 2008 at 10:12pm:


First of all...I think you're RIGHT ON about "more practice" to get over the crazy nerves..because that is really what it takes in any kind of performing.

Secondly...the fact that you did BETTER on your song means promise of continued improvement in the future so long as you continue to try. �There's a lot of hope in that sentiment.

Try not to be so hard on yourself. �I know...easier said than done...but if you had improvement on your nerves in singing for this audition...I really think that's something to celebrate. �

To answer your question about transferring your confidence in reading to singing:

I have the exact opposite problem. �I have to find ways to transfer my expression/confidence in my singing into my dialogue. �I've effectively done this by pretending some of my monologues are a song. �

But for you, I'd monologue your song to begin with. �Speak the lyrics as if they were just dialogue. �You'll find new creative ways to characterize your song this way. �Also...it gives you a focus. �I think all singers should have ONE focus to avoid "thinking too much"...and it should NEVER be about technique; �ONLY what the character would think/feel/do. �Thinking about technique will sabotage your performance every time. �If you funnel ALL your energy into your character, it'll effectively distract you from thinking about your technique, and your voice will sound better...and you may even find that you use your breath energy more efficiently. �There's a time and a place to think about singing technique (during SOME private practice time)...and performing is NOT one of those times.

Just make sure you're taking time for a relaxed breath every now-and-then. �When we get nervous...our breath is the FIRST thing to go (and any singer knows that "breath is to singer as gas is to car"). �So breath and character really are the only things that should be on any performer's mind during a singing performance. �Personally, I simplify this for myself (because remember, I only want ONE focus) by "breathing in the character."

OH...and if I'm feeling intimidated by the directors...I picture them as ice sculptures and I attempt to melt them with my warmth of expression. �Cheesy...I know...but it's worked for me before. �Or an attitude of "offering" the directors a moving performance...anything to take the "ego" out of your performance really helps with nerves.

Quote:

Maybe that'd work for the role of Jud Fry. 

Quote:


Have you been talking to Bonespurr again?

1. If I'm really nervy, I give myself the most painful pinch possible on one of my arms to distract my excess adrenaline.  Works for me.

2. A song is a monologue done to music.  Move organically, as the motivation compels you.  And yes, every once in a while, it's okay to let an arms-out, soaring, musical theatre moment get to you.  That's the nature of the beast.

QueenMorgaus wrote on Sep 19^th, 2008 at 10:34am:


What do you mean, referencing someone onstage with you? Could you give an example?

QueenMorgaus wrote on Sep 19^th, 2008 at 10:34am:


Well, when I perform the song "Popular" from Wicked...I sing it to the audience...like THEY'RE Elphaba...rather than have someone sit onstage with me so I can sing to her.  You can do that and STILL keep the fourth wall up.

Does that help?  Can you reference the directors?

Cheeky Monkey wrote on Sep 19^th, 2008 at 11:13am:


I really hate saying stuff like this, cause it's not like I've ever directed in a big venue or know how pro directors feel... so take this with a grain of salt.

As a director, I love it when actors are able to 'pull it off'. �More power to you if it entertains me and my pro team. �There is something so engaging about an actor who ENJOYS the audition process and shows their confidence in stagecraft by creating a character separate from their own and responding to that separate character.

I say if you can make it work, go for it. �And if it takes a few auditions to make it work, give it a go. �What's one audition lost in the pursuit of getting better at auditioning?

Stop looking at a role as the be-all and start viewing the audition as a chance to (like Shimmer said) practice performing and enjoy yourself.

Nerves or no, there's always some fun in every audition situation. �Acknowledge it, point it out, and let the director in on the secret. �Cheeky gave a wonderful example of why she was called back - I say, take the risk.