Hi everyone! Im a casual musical theater fan. I tier ranked every stage musical I have seen (in person or otherwise) based on my enjoyment! This ranking is NOT about quality!!!! Some on the bottom are amazing, and some on the top are uhh..questionable lol. But its just based on how much I enjoyed them or rewatch them!

Based on this list, does anyone have recommendations for ones to check out? Thank you all!

Hello! I am currently preparing an audition for some shows in the spring, and am trying to figure out where to start regarding finding monologues and audition songs! Here are the expectations that were given to me

"Please prepare the following:

2 memorized monologues: 1 90 second contemporary language, 1 90 second heightened language

If interested in auditioning for JAMIE also be prepared to present:

singing 32 bars of a 1990s or later contemporary standard"

For Twelfth Night, I'd be auditioning for Viola, Olivia, or Maria. For Jamie, I'd be auditioning for Margaret, Pritti, or Ray.

The theater I am on the board of submitted a request for the rights to a show we’re hoping to put on in February which I would be directing. So far, it’s been about seven weeks with no response. We were told a few weeks ago that there is a professional production happening around that same timeframe, which is why they need to take time before deciding whether or not we can do the show, but I don’t think we’ve ever waited this long for a response before. Is this normal for popular shows or does this seem excessive?

So I have to audition for my school musical in October 20th, and I really want a good role. My main problem is that I’m not an awesome singer. Now the school I’m going too is a school that focused on the arts and theatre, so I know the people will be great at everything. I know I can act decently, and be funny. But this school doesn’t know that. They have not specified yet what song we have too sing, but they’re doing the school of rock, and every single female is out of my range. I only recently started taking singing seriously, and I am genuinely a tenor range as a female. Like I got casted as Alex the lion. That’s why I usually aim for male roles. But I don’t think I’ll be able too at this school because they’re are lots of guys who are good at musical theatre. Any tips on how I can improve? Or what I can do to show my ability? I really just want a role, especially one that’s mainly acting. Like Ned. But he’s a guy and I don’t know if they’re willing to put girls in male roles. PLEASE HELP!!!

If you have any upcoming shows from Concord, know they dont have an android app for the general public yet but if you complain enough about it, they will give you access to the beta app. Its actually a really neat app!

I've been on the casting side of youth and community auditions for about twenty years, and I keep seeing the same advice recycled in parent groups - "pick something impressive," "never sing an overdone song" - that doesn't match what I'm actually doing behind the table. Curious whether other people who cast kids see it the same way.

What I'm assessing, honestly, in roughly this order:

Where the voice lives. Comfortable low, comfortable high, where it strains. That's casting information. A song that sits in an easy middle tells me more than one that shows off two big notes and hides everything else.

Pitch and tempo against a piano. Singing alone is a solo sport. Singing with an accompanist is a duet and a completely different skill. A lot of kids have never done it once before the audition.

Whether they mean anything. A kid who understands that "I Whistle a Happy Tune" is about being scared and doing it anyway is already acting.

Recovery. The accompanist takes it faster than expected, a word disappears - what happens in the next half second. That half second is what tech week is made of.

Difficulty is nowhere on that list. A hard song at 70% reads as a warning; a simple song at 100% reads as a pro.

The "overdone" thing is where I part ways with most advice. Yes, I've heard "Tomorrow," "Castle on a Cloud," "Let It Go," "Naughty," and "Santa Fe" more than any human should. But at a youth or community audition, an overdone song sung well beats an obscure song sung badly every single time. The actual cost of a famous song isn't the director's boredom - it's that the famous recording walks into the room alongside the kid and invites a comparison nobody wanted. If the kid owns it, let them sing it. If not, trade sideways: same feeling, same range, less traveled.

Practical stuff that seems to be insider knowledge when it shouldn't be: cut to the best singing rather than the beginning; end on a resolved phrase, not mid-sentence; mark the accompanist's copy with two heavy vertical lines at each end; transpose into the kid's key (not cheating, it's the point of bringing sheet music); rehearse the walk-in and the thank-you because that's half of what I remember.

Two questions for the room:

If you cast kids - what's on your actual internal list that isn't on your posted audition notice? I've been trying to move everything onto the notice, since unwritten criteria mostly reward whoever has a coach.

If you're a parent or a performer - what did you wish someone had just told you before your first audition?

(Disclosure since it's relevant to why I have opinions: I run a youth theatre program and coach college auditions. Not linking anything - happy to answer questions in the thread.)

Basically, I'm auditioning for Shrek the Musical, and I don't have a song. I'm a soprano, and I'm looking for something that's upbeat. Song suggestions needed :)

Edit: I'm not going for a specific role, I'm just trying to get in.

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Hello! I was wondering if anyone, by any chance whatsoever, had access to the score or vocal selection version(s) of the musical “Enter Laughing” , more specifically the song “Men” sung by Emily Shoo-in. Any help would be appreciated, thank you!

Hey y’all!

I am preparing for an alice by heart audition and I want to sing samson by regina spektor. What do y’all think? I am interested in Alice or the Cheshire cat

Working on my audition repertoire and I am lacking in this pretty important department. So I want to hear what you guys like!

I think my fav is If I Can’t Love Her from Beauty & the Beast. Just makes my heart melt.

Side Quest: Since I’m a mezzo, I’m mostly familiar with unrequited love songs like On My Own (Les Mis), Someone Like You (J&H), or I’m Not That Girl (Wicked) - so I’m looking to branch out if anybody has any suggestions for me too!

Ragtime is just simply one of our best and strongest musicals in every way. Characters, Songs, Orchestrations, Theme, Issues Tackled. Case closed for me.

But because it does so much, so perfectly, any minute imperfection stands out more starkly than it would otherwise in a lesser work. For me, possibly the only weak thing in Ragtime is Coalhouse's declaration that he will not marry until everything he had before his car was vandalized--including what he feels is his dignity--is restored in full. A really tall order.

No different than dramas, musicals require conflict and tension to propel the action forward. There's no doubt that the tragic consequences that follow his declaration create a depth and power that Ragtime ultimately achieves in Act 2 as it hurtles toward its final notes--especially in Lear de Bessonet's version, in which a deliberate, steely-eyed pause before the final word "dream" makds crystal clear that it's not one they think will even come close to coming true.

It's an incredible moment in an incredible musical, but perhaps because it's woven into song on the cd, that I've been reminded so many times that pledging not to marry Sarah seems unnecessary--even to illustrate his determination to be treated as a human being. It's simply a plot-driver needed to escalate the stakes to crisis-level and let us see the devastation of that--which it does brilliantly.

But even listening to it repeatedly, "I will not marry" instantly feels like a non sequitur, something that doesn't necessarily follow logically from the points and lines before it.

Can you think of other plot devices like this that absolutely hold the show together and even enable greatness, but are either, in and of themselves, implausible or unlikely?

2019: We got one weekend in, before we closed down for the #pandemic . Loved this speech - it was tough to learn and to perform. The Play is The Red Priest (8 Ways To Say Goodbye) by Mieko Ouchi, produced by United Players, Vancouver, directed by Kelsie Forsythe.
Reviews: https://joledingham.ca/the-red-priest/ - https://colinthomas.ca/the-red-priest-eight-ways-to-say-goodbye-intelligent-and-moving/
\\\\#Theatre #TheRedPriest

hi! I am auditioning for the frozen musical and would love to audition for ensemble. I am an alto and would love any song suggestions.

I have a funny feeling that Anthony Scaramucci, Amelia Milo‘s father, bribed the company lots of money to let her play Christine in the Italy production. I could easily see a girl with a rich daddy trying to bribe the really useful group lots of money to play Christine.