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There is no excerpt because this is a protected post.
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Typically, auditionees focus almost entirely on how deliver the actual material, whether spoken monologue or song. However, there are other factors at play that can either enhance or undermine the experience of the audience (or audition panel) the performer. To create a professional piece of theatre for your song, take into account the following: The
Here are the questions I ask myself when I am assessing a song performance, whether it’s by a professional singer, by an actor, or by an actor who doesn’t think they can sing, or may not be very musically reliable. We can use these questions to assess our own performance. We can also learn a
Singing for Drama College Auditions (Part 5 of 6) – Assessing your song performance Read More »
Purpose Expect to work hard Research the song’s context A song is a dramatic monologue Fit the time limit (possibly 1-2 mins) Musical considerations Work the words 1. Purpose To sing an unaccompanied song in character using physical and vocal expression: In other words, play a character who is singing their thoughts and feelings, instead
Singing for Drama College Auditions (Part 4 of 6) – Acting a song Read More »
Make sure you have read Part 1 of this series first, to get an overview of how the singing element fits into the audition process for actors (not music theatre performers). Work out how much of the song you will sing for your audition version: work out cuts so you know what you would include
Singing for Drama College Auditions (Part 3 of 6) – Song choices (more tips) Read More »
On this website, you’ll find five blog entries that I’ve called ‘Singing as storytelling’. I wrote them originally for singers to read. But the lessons apply equally to actors who have to sing for the purposes of a dramatic role they are playing. This is because the job of the singer or the singing-actor is the
Singing for Drama College Auditions (Part 2 of 6) – Singing as storytelling Read More »
Stephen Sondheim wrote the music and lyrics of ‘Send in the Clowns’ for his 1973 musical, ‘A Little Night Music’. Before reading the rest of this blog post, you might want to read the excellent Wikipedia article on this song; it gives the dramatic context for the song, as well as highly informative detail, in
‘Send in the Clowns’ (Singing as storytelling 5) Read More »
‘Guess who I saw today’, was written by Murray Grand (music) and Elisse Boyd (lyrics) for the musical revue ‘New Faces of 1952’. It is a wonderful combination of words and music to tell a story. As for my other blog posts in this ‘Singing as Storytelling’ series, I’ll share my favourite version first. This
‘Guess who I saw today’ (Singing as storytelling 4) Read More »
Churchill Hospital, Oxford, Wed. 4 March 2020, 12.30-1.15pm Alexander Massey Part of the ‘First Wednesdays’ concert series Dream A Little Dream of Me (Andre, Schwandt &Kahn) Shallow Waters (Billy Mayerl) Autumn Crocus (Billy Mayerl) Be My Love (Brodsky & Kahn, arr. Keith Jarrett) My Wild Irish Rose (Keith Jarrett) Over The Rainbow (Arlen & Harburg,
Piano Concert – Alexander Massey Read More »
Please could we stop using the word ‘open’ in relation to anything to do with singing? I realise that teachers and voice scientists may have specific meanings for this word in different contexts, but I am concerned that a) students don’t necessarily have a clear understanding of the different uses of the word, b) we
Please could we stop using the word ‘open’? Read More »