Last summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the SIX – very long – questions I asked them about what their preferences are when in an audition situation.
Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.
Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.
Kim Dare works in Seattle at various Equity and Non-Equity companies
Thank you to Jeff, Darcy and Kim! Enjoy the last installment!
Jeff:
5. Do you believe that there is such a thing as an overdone song? What is the song you do not ever want to hear in an audition - ever - ever again? Have you ever chosen not to cast someone based on their song choice?
There are very few songs that are overdone to
the extent that you shouldn't sing them. My two best songs were standards on
many "Never Sing" lists, and I always got a callback because they
were perfect for me and my type. But if your song is done a lot, you'd better
be awesome or have a great new take on it.
Sometimes the less popular song from a show is good to look at. I'd rather hear "Someday" than "Come Out of the Dumpster", for example. You can find cuttings from extended solo sections in duets, like things from Title of Show and Urinetown.
I don't ever want to hear Once Upon A Time or Someone Like You unless you can NAIL those high notes without sounding and looking like you're screaming. Same thing with Run Away With Me (which I enjoy playing) or At The Fountain.
Generally JRBrown is so showy for the piano that you will be upstaged by a good pianist. Why compete with that?
I've never not cast someone because they sang a song I didn't like. But often you might not get cast if a song exposes your break, or reveals your weaknesses instead of playing to your strengths. I personally love to hear someone display control and versatility. The end of Someone Else's Story (for example) shows you can power belt, mix, and sing in contemporary head voice in 6 bars if you approach it that way. As a music director that gives me confidence that someone has a command over their instrument.
Sometimes the less popular song from a show is good to look at. I'd rather hear "Someday" than "Come Out of the Dumpster", for example. You can find cuttings from extended solo sections in duets, like things from Title of Show and Urinetown.
I don't ever want to hear Once Upon A Time or Someone Like You unless you can NAIL those high notes without sounding and looking like you're screaming. Same thing with Run Away With Me (which I enjoy playing) or At The Fountain.
Generally JRBrown is so showy for the piano that you will be upstaged by a good pianist. Why compete with that?
I've never not cast someone because they sang a song I didn't like. But often you might not get cast if a song exposes your break, or reveals your weaknesses instead of playing to your strengths. I personally love to hear someone display control and versatility. The end of Someone Else's Story (for example) shows you can power belt, mix, and sing in contemporary head voice in 6 bars if you approach it that way. As a music director that gives me confidence that someone has a command over their instrument.
Darcy:
5. Do you believe that there is such a thing as an overdone
song? What is the song you do not ever want to hear in an audition - ever -
ever again? Have you ever chosen not to cast someone based on their song
choice?
I have to say that the
auditions I've played in recent years are for either seasoned Shakespeare
actors or college students. So I'm not plagued with overdone song choices.
6. What is a favorite
moment you recall while watching (or playing) auditions.
Many of my (wickedly)
favorite moments come from watching the actor who confidently chooses to sing a
cappella, even though there is an accompanist at the ready. The tune goes
out the window, the rhythms are What?, and I'm thinking, wow, it would be hard
to actually learn to perform the song that way. Years ago, a woman sang
"What I Did For Love" and changed key on every syllable of that song.
Just try and recreate that yourself - it's darn tricky.
I really enjoy the
actor who comes in, sings a song, and is relaxed enough to know that they can't
control the dynamic of the people at the table, but they can bring their piece
in, sing it with good volume, and leave knowing that they did everything
possible to prepare the music with a coach and schedule plenty of practice time
in advance of the audition.
Kim:
5. Do you believe that
there is such a thing as an overdone song? What is the song you do not
ever want to hear in an audition - ever - ever again? Have you ever chosen
not to cast someone based on their song choice?
I was asked this
question in a master class recently. I don't believe that there is any
'overdone' song if it's done well and knocks my socks off. I do not want to
hear a crappy version of Popular ever again. But, bring someone in who kills it
and I will have more fun than you could ever imagine!!
6. What is a favorite
moment you recall while watching (or playing) auditions?
For me – I always have
a great time at auditions. I like to play my own auditions because I can gather
information about how well the actor follows or leads the accompanist and owns
the song. It also allows me to connect with the actor when they first bring the
music to me. I can get a feel for how well they explain what they need from me
and how well they communicate. If they are a little nervous, I look to
encourage them so that they are freer.
