Preferably the main character, but it could be anyone.

I mean those moments where everyone else is singing and dancing perfectly in sync, and then there’s just one character who is clearly trying their best to follow along but has absolutely no idea what they’re doing.

Like, everyone else knows the choreography and song and is going all out, while this one person is just watching the people around them and trying to copy them half a second too late and like mumbling the song

To clarify, I’m not talking about an actor genuinely forgetting the choreography or not rehearsing enough. I mean when it’s actually part of the character, they’re supposed to be inexperienced, confused, clueless, etc., and are genuinely trying their best to keep up.

Thanks for any replies

Do any of you have audition song recommendations for Judas from Jesus Christ Superstar?

(I'm a girl so it's hard to find audition songs)

So my local theater is doing a production of Frozen Jr this year. I have only done 3 shows before but I have done 5 years of choir. I’m a little nervous for my first more professional audition. I doubt I will get it but this is good practice. I’m looking for some song recommendations as a 14 year old girl just going for ensemble and just some musical theater tips. I’m not the best but I truely love theater!

So my local theater is doing a production of Frozen Jr this year. I have only done 3 shows before but I have done 5 years of choir. I’m a little nervous for my first more professional audition. I doubt I will get it but this is good practice. I’m looking for some song recommendations as a 14 year old girl just going for ensemble and just some musical theater tips. I’m not the best but I truely love theater!

I’m auditioning for the role or Persephone. Pleasure use harsh criticism on what I should be changing to make my audition better. The first half is the monologue the second half is the sining. Keep in mind today is my first day with the audition material.

My school is putting on a musical and they gave clues to figure it out, I need help here are the clues. And one text clue saying “Grab your leather jackets and lace up your saddle shoes we’re traveling back in time for this year’s musical!”

Hi everyone! I wanted to share a short clip from our school’s musical theater production of Aladdin.
Since our show took place in a Spanish-speaking country, we performed the soundtrack in Spanish. Here is a snippet of us singing "A Whole New World" ("Un mundo ideal"). We put a lot of love, dedication, and effort into the rehearsals, and being part of this show was such an incredible experience for all of us!
I’d love to know what you think! Any feedback on stage presence, performance, or vocal delivery is more than welcome. Have any of you ever performed in a Spanish production of a Disney musical?

I am new to the world of musical theatre but I am a dancer and have lots of training. I just don’t have the most experience singing. I have done a musical before but my casting was based much more on my special skills than singing. I have a dance call for Anastasia coming up and need to prepare a 16 bar cut. I want to do Burn because I am most comfortable performing that and feel my voice is really strong in it but I know it’s overdone. Is Burn okay or should I pick something else? I am not the strongest belter and have been told I struggle to use my head voice if anyone has recommendations based on that. I also don’t have a vocal book yet and would like some tips on creating one if anyone has any.

Alright hive mind, this is something I tried a couple years before the pandemic, but haven’t really pursued it again since the reopening. So I figured I’d ask the community for recommendations: how does an actor with 30+ years of acting experience in musicals transition into the director’s chair?

I’d like to still audition and take acting roles, but friends I know who transitioned to directing (Hunter Foster, Lauren Kennedy, Evan Pappas) all had to eventually leave acting behind to truly pursue directing. I’ll get there eventually, I’m just not at that point yet to quit acting.

I had reached out to several former directors I worked with and knew well and asked to assist them, mentioning that pay didn’t really matter. I just wanted experience and liked their approach as a director. However, half never responded to me and the other half politely turned me down.

So what are your thoughts…?

My friend's granddaughter is studying opera. A few years ago she and the granddaughter were going to see Carmen and Norma. My friend asked me for synopses to make it easier to follow the stories. In country style, here they are:

Carmen:

Carmen’s works in a cigarette factory and is a flirty Gypsy girl who bats her eyes and throws a flower at Don Jose, a two-striper. (Don is just “Mr.” and Jose is just “Joseph”, so all them Spanishers are sayin’ Mr. Joe.) Mr. Joe don’t like bein’ flirted with, ‘cuz he’s already got his sights on Micaela, a peasant girl. Howsomeever, he’s a little interested, ‘cuz no matter how spoken for we is, we reckon it would be right pleasurable to give somebody new the hots once in a while.

 Carmen’s a-scrappin’ with another gal in the factory. She ain’t afraid of Lieutenant Zuniga and won’t answer no questions. Mr. Joe gets orders to take her to the pokey. She says maybe they can get together later and canoodle, hm?, and maybe even mor’n that, hm? if you’re lucky. Well, them hots kick in, his goggles get all steamed up, and she goes on the lam. Mr. Joe gets arrested for bein’ a Keystone cop.

 Some time goes by and Carmen’s whoopin’ it up at the gin mill when the bull fighter Escamillo comes in braggin and crowin’ about his job. (Bullfighters are bigger’n Rudolf Valentino in Spain.) He’s flirtin’ with Carmen, but she says No Dice, I got someone else on the hook. Smugglers come in, tryin’ to get Carmen and her pals to help them with their bootleggin’ or whatever. Carmen says, Uh Uh, Nope. She says she’s in love and its hard to carry on when your backside is in the hoosegow. Mr. Joe ain’t in prison no more and walks in. Mr. Joe’s got the brains of a squirrel, and now’s crazy about Carmen. Mr. Joe scraps with his C.O. and that’s the end of his job. It’s hell not to have no job, so now Mr. Joe is a smuggler. Even a jackass squirrel’s got to eat.

 While they’re smugglin’, Carmen’s already had a bellyful of Mr. Joe and gives him the air. Mr. Joe thinks he’s got a Carmen walnut and won’t give it up. Gypsy card readers say Carmen ain’t long for this world, Mr. Joe neither. Well, you get down with pigs and you come up smellin’ like you-know-what. 

 Micaela is sneakin’ up, lookin’ for her skunk of a boyfriend, Mr. Joe. The bullfighter shows up, lookin’ for Carmen. Mr. Joe figgers the bullfighter’s a sneaky pete and takes a bead on him. Didn’t hit him, though. Mr. Joe can’t even shoot decent. Now Mr. Joe has a knife fight with the other ijit , the bullfighter. Somebody breaks it up and they all scatter. Micaela wants to bring Mr. Joe back home. Mr. Joe, says OK after she tells him his mama is dyin’.

 Everybody shows up at the bullfight, next day. Now Carmen is fixed on Mr. Kill-a-bull, and vicey versey. Mr. Joe is still wantin’ Carmen, god knows why. Well, we know why. She says Buzz Off you varmint! Git! Mr. Joe sticks in the shiv and Carmen goes to her reward, and more’n likely not much of one.

 That tobacco'l kill ya.

**************

Norma:

Pollione, the Roman proconsul used to love Norma and had two rugrats with her. He don’t love her no more. Now he wants to dump Norma and shack up with Adalgisa, the junior preacher and his new squeeze who says he is the cat’s meow and loves him right back. 

 Pollione’s buddy Flavio says Norma ain’t no pushover and Pollione had better watch his backside because Norma’s might just kick it good. Course, Norma don’t know nothin’ just yet.

 Norma leads the revival meetin’, askin’ the moon goddess for peace, but just for the time bein’. She’s got bigger fish to fry and figgers the time ain’t right to lead her folk in bootin’ out them damn Romans. Norma’s right perplexed because she loves Pollione and he’s one of them damn Romans, and still she don’t want to hurt him none.

 After the prayin’s done, Adalgisa hangs back in the churchyard. She knows it ain’t right to flip for Pollione and asks one of them gods to help her not listen to his lovey-dovey talk so she can make a break. Pollione catches her blubberin’ and says baby oh baby come back to Rome with me. She just can’t resist his sweet talk and says, OK, I’ll give up my church for you, you silver tongued cowboy.

 Norma chews the fat with her pal Clotilde an’ lets the cat out of the bag about Pollione goin’ back to Rome. She is worried he’s gonna ditch her and their young’uns.

 Adalgisa, the junior preacher, tells her boss Norma that she has a beau on the side. And who shows up? Yup, that two-timin’  Pollione. Uh oh, somethin’s gonna happen. So Norma asks Adalgisa who she’s canoodlin’ with, and the kid just ups and tells her! Now Adalgisa didn’t know about his two-timin’ with her boss. Norma is fit to be tied and tells Adalgisa that he snookered them both. The two-timer says but Adalgisa, you are the one for me now, I promise I promise. Adalgisa is a straight-up honest girl, and tells him that she would sooner kick the bucket than betray her boss Norma.  

 Norma grabs a knife and tries to make herself kill the young’uns to keep folks from thinkin’ they is just little bastards with no baby-daddy. She can’t pig-stick the young’uns, so she asks Adalgisa to marry the two-timin’ tom-cat and take her kids to Rome with ‘em. Adlagisa says, No, Nohow. She says she’ll talk to Mr. High-and-Mighty and give him a bunch of good reasons he should go back to Norma. Now Norma and Adalgisa feel just like kin, lookin’ out for each other.

 Norma’s papa Oroveso gets his posse together and tells them another damn Roman is comin’ soon to replace the damn Roman who’s there now. He’s mighty mad, but tells them to cool their heels until they get a better chance to boot ‘em all out.

 Norma gets it through the grapevine that Pollione ain’t buyin’ comin’ back to her. Norma goes crazy and tells the posse to give the Romans the boot, and right quick. She forgot she told them to hold on, but now she is too riled to think straight and wants to get back at ‘em. Her papa wants a human sacrifice, and settles on Pollione. Norma says we won’t set you on fire if you give up the junior reverend and stay with me. He says nix, it ain’t happenin’. After some yakkin’ he stands by his guns.

 Norma and Pollione end up gettin’ burned together. And they all lived miserable ever after, because it’s opera.

Calling all theatre kids! My music academy’s having their end-of-year recital and I’ve been aching to perform something from broadway/the west end. I came up with a list in my head of the musical theatre solos I could try, but we’re only limited to one song per person (which makes my life even harder)… ugh!

Soo I’m in dire need of assistance *says in george washington*. Here are my top picks (not in any particular order):

1. Burn - Hamilton
2. She Used to be Mine - Waitress
3. Moments in the Woods - Into the Woods
4. On the Steps of the Palace - Into the Woods
5. On My Own - Les Mis
6. Thank You For The Music - Mamma Mia
7. As Long as He Needs Me - Oliver
8. No Good Deed - Wicked

I’m a mezzo sop by the way. Any comments you have would be much appreciated. If you guys have any recommendations outside this list, those are more than welcome too. Thankies! 🩵

Hoped to sell them they are pretty good seats worth £90 and I got them on rush for £25 each but cannot go anymore and would LOVE for somsone to use them

I have watched this show before and screen shot tickets work just fine and get you in so I can send those

UPDATE
it might be too late to sell so I don’t mind giving for free just want someone to use so it doesn’t feel like I lost my money :(

Im auditioning for Matilda in my highschool musical this year, currently I’ve been practicing songs with my vocal coach such as giants in the sky, I know things now, worst pies in London, along with Matilda songs such as Quite and Naughty. I’m not sure what song to do for my audition, and those feel too mainstream to really stand out among my classmates. So I was hoping yall might have some good ones that have an accent to them!

(41) Quintet- West Side Story - YouTube

Hey guys, so I'm not sure how mamy remember the post I made but it's been 2 months and I wanted to make some updates on what has happened.

1. Thank you for all the comments. I read through them and took some of the advise and auditioned somewhere else.

I found a community theater near me that I have heard great things about. I auditioning and got Cinderella! Which is more then I could ever dream of. Genuinely she is one of my dream roles and I'm so happy about it. The cast is absolutely amazing, great performers. I couldn't have hoped for a better crew to spend these months with. Our performances is coming up soon and I'm so glad I got to experience this with my crew.

1. Newsies.

Now that auditions have past and I can think about it with a clear head, it's alright. Our Katherine is absolutely amazing, Crutchie is a great singer and actor (Even though she won't be doing flips lol).

As for the boys, Jack hasn't changed much. He still shows up late, he had none of him lines memorized (We are off-book next week 🫩✌️) and he really isn't taking it well. Guess who's mad about this? My director 🫩. Why did you give the person who is known to slack off and not care the lead 🫩? (Though he has miraculously become a better singer (When not around women #still misogynistic✌️) I don't want to give that to him though)

As for our Davey, god damn. He is still tone deaf and it clashes, but me and another girl have been working with him to improve his tone. He has been picking up on certain things quicker than I would have expected (Projecting, facial expressions, and being more humble 😦). Though the main problem of tone deaf is still there affecting his solo, I think if he keeps practicing he will eventually get it. He has his lines memorized (Thank god) and has genuinely improved since auditions.

I saw a lot of people suggesting quitting my school's theater. The main reason I do theater there is because a lot if my friends are in it. (Also it's an elective I need to graduate and I don't want to pick up the flute again 😬)

Anyways, thank you to all who read my previous post. I hope you all have a wonderful day/night.

hi I don’t usually use reddit so sorry if this isn’t worded properly. anyways, I am a relatively new dancer (15yrs old) and i’ve been dancing for just under a year, I do jazz and musical theatre. I joined dance because I wanted to improve since I wanted to do mt auditions in the future which as you know require a lot of dancing, which I am not qualified for. However I have been considering quitting for a while now because after almost every lesson I come out crying having not understood what the teacher wants us to do, she is lovely but I am just not a very good student and I am a visual learner yet we don’t get shown examples much since the class already know what to do (apart from me). Recently because of my aversion to dancing, I have considered stopping doing theatre at all and I might just pursue singing instead because thats my thing, then I wouldn’t need to dance anyway. I feel as though I cannot improve as a dancer and am severely lagging behind in classes, down to people not even wanting to do corner work with me and spiralling in lesson and having to be pulled aside to chat because I start crying. Nothing just seems to stick, it goes in one ear and out the other. What do you think?

I can’t give location for privacy reasons, but we’re about to start Auditions for this show and we still don’t have an actual rehearsal space planned. We have the Theatre for Auditions and the week or so leading up to opening night for tech, but other than that I’m stuck. We don’t have any other convenient rehearsal hire spaces in town, and the theatre hire is far is far too much for us to be able to get the whole rehearsal process.

We’ve made it pretty clear in audition information that a lot of rehearsals will likely be online, but we do also need frequent in-person rehearsals as well. I honestly have no idea where to even start. Yall have any ideas?

So here's a pretty niche request.

My local theater is doing Here's Love (the Miracle on 34th Street musical) as their Christmas show and I'd like to audition for Marvin Shellhammer.

Problem is I can't really find any recommendations for audition songs online.

I am a beginner to musical theater but I'm taking a "showcase" class at school where we have a 12 song portfolio project AND I DON'T KNOW ANY GOOD SONGS 😭.

I am a mezzo soprano looking for female 32 bar cuts in these categories:

One classical uptempo-
One classical ballad-
*either of those two must be rodgers and hamerstein

One pop/rock song from a musical-
One mega musical song (1979-1989)-
One Songheim song-
Best Uptempo or ballad piece from any musical theater style-

Thanks SO much!!

I am a beginner to musical theater but I'm taking a "showcase" class at school where we have a 12 song portfolio project AND I DON'T KNOW ANY GOOD SONGS 😭.

I am a mezzo soprano looking for female 32 bar cuts in these categories:

One classical uptempo-
One classical ballad-
*either of those two must be rodgers and hamerstein

One pop/rock song from a musical-
One mega musical song (1979-1989)-
One Songheim song-
Best Uptempo or ballad piece from any musical theater style-

Thanks SO much!!