Dates and Venues (BA Musical Theatre)
January 19-23: Ripley-Grier Studios, 520 Eighth Avenue, New York, NY 10018
February 5-7: Palmer House Hilton Hotel, 17 E Monroe St, Chicago, IL 60603
New York Panel Members: Andrew Panton, James Orange
Chicago Panel Members: Michael Howell, Gordon Adams
*Auditions may be recorded for additional review by departmental faculty/staff at RCS.
We kindly ask that you bring a headshot as it helps the panel keep names and faces together. It will not have an impact on the audition outcome.
The audition process is separated into four sections, designed to explore skills in acting, singing, dance, and musicality. Importance is weighted equally in these four areas. We will be looking for a strong ability in three areas and trainable potential in all four, although it should be noted that the panel will look for evidence of emotional connection and clarity of expression in all four. The initial audition will last approximately 15-20 minutes (consisting of the Singing, Acting, and Music sections).
You should prepare three songs for your audition. These should show vocal range, as well as the awareness and ability to use contrasting stylistic features common to Musical Theatre repertoire. The range should include three songs, one of which is not from a musical (this may be pop, rock, blues, gospel, jazz, folk, etc).
– Music should be prepared clearly for the pianist and should be in the correct key. If the song is longer than three minutes, please have a cut ready.
– No recorded backing will be permitted and you may not accompany yourself for this element of the audition.
– It is unlikely that the panel will listen to all three complete songs. We will hear what we need to get an overall impression of range, technique, and potential.
During this session, the panel will look for:
– evidence of vocal technique and the ability to make style choices appropriate to Musical Theatre repertoire;
– the ability to communicate intention, emotion and character through song; and,
– vocal flexibility, intonation, pitch and musicality.
You should prepare 1 Shakespeare monologue and 1 contemporary monologue to contrast of no longer than two minutes in length. Please prepare and learn these carefully and have an understanding of the entire play, not just your monologue, as the panel may ask you to talk about your choices. During this session the panel will look for:
– the ability to bring a character to life with believable thoughts, feelings, and actions which are appropriate to the text chosen;
– the ability to connect emotionally with a text; and,
– the ability to engage an audience through verbal and non-verbal communication.
You should bring your instrument to the audition (this cannot be voice). If do you play an instrument please prepare a short piece or section of music (no more than two mins) demonstrating your musicality. If you do not play an instrument please be prepared to talk about any experiences you have had with music and how this influences your choices as an actor, singer, and dancer. For this programme, please note the panel are also looking for elements of potential in musicality, and so if you do not currently play an instrument, we would encourage work towards demonstrating any connection with music at your audition. (E.g., you could learn a basic melody/chord sequence on piano or guitar.)
If you are recalled, you will be led through a group dance audition, likely to take place at the end of the audition day (typically 3.30pm-4.30pm, but the final dance recall times will be announced by email in advance of your audition day). The dance recall may include elements of jazz, ballet, and contemporary styles. No preparation is required for this section. Please wear suitable clothing for this part of this audition. During this session the panel will look for:
– the ability to use the body as a means of expression;
– evidence of technique, style, and the physical fitness to cope with the intensive demands of the programme; and,
– the ability to communicate with the teacher/choreographer and other members of the group, and to synthesise and re-create choreography.
Please note that if a dance recall is not made available for your audition, or if you have a pre-existing conflict that would prevent you from participating in the dance recall, a suitable alternative will be found with the audition panel. This often takes the form of sending in a short video demonstrating similar dance elements that were to be assessed in the recall.
Throughout the audition and interview…
In all the above above audition and interview sessions, the panel will look for:
- the ability to discuss your work giving reasons for choices made;
- an ability to respond positively to re-direction;
- an openness to others, responding creatively to their ideas, thoughts, and feelings;
- knowledge of the theatre, television, film, and music industries;
- experience in public performances; and,
- evidence of the resilience and commitment necessary for successful completion of the programme and entry into the profession.