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Musical emotional song “Left behind” -2.pdf

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This is my favourite video of "Left Behind" because I really like the way they have shown the coffin and different ways that people act at an funeral.

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Wendell Bergmann is a lead character in Spring Awakening. She is an 14 year old girl who it interested at a very young age about learning adulthood with things like sex. She does unforantly in the end die but is remembered for being an young, insentient teen.

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Wendla Bergmann is the female lead of the Spring Awakening play and musical, and the tritagonist overall. She dies in both from a botched abortion. Lea Michele played Wendla in the Original Broadway Cast.

Background Edit

Wendla Bergmann (May 5, 1878 - October 27, 1892) is a 14 year old girl living with her mother in Germany. Her father is not mentioned. Wendla is naive about adult relationships but very charitable and kind. Wendla is close friends with Martha Bessell, Anna and Thea. She has an older sister ( Ina Muller) who is married with two children, she is the daughter of Frau Bergmann, and childhood friends with Moritz Stiefel, Melchior Gabor and Ilse Neumann. Wendla is the female lead of the play and the musical, and dies in both. Lea Michele played Wendla in the Original Broadway Cast. In the 2015 revival she was portrayed by deaf actress Sandra Mae Frank and hearing vocalist Katie Boeck.

The play opens with Wendla, who has just turned fourteen. Desperate to understand sex she asks her mother multiple times before her mother turns her away, telling her to ask her when she's older

Next we see Wendla with her friends discussing Martha's home life, she tries to comfort Martha, but does not truly understand her pain. To help herself understand she asks Melchior (who finds her daydreaming as he is walking through the forest) to beat her with a stick. First he is reluctant but soon shows no remorse and starts hurting her, before running off.

In the musical there is an additional scene before this when Wendla meets Melchior in the forest and the two discuss church and some socialistic ideas about industry. There is a clear attraction between them though they are both awkward and uncomfortable. Melchior repeatedly advances upon her, trying to hold her hand and make her stay with him longer, and though she is unsure and clearly reluctant, she relents.

Wendla is unaware of how sex works, but no longer believes in the stork, as her mother wants her to. This is shown straight away in the musical, however takes a little longer for the play to express this.

Hayloft Scene Edit

In the musical Melchior advances on Wendla in the hayloft under the false pretense that Wendla is in love with him and wants to have sex, however Wendla, who is interested in Melchior but is scared and unready for sex, panics, as she does not understand what is happening. She eventually relents (particularly upon him mentioning love and manipulating her earlier words about wanting to "feel something"), but still does not want to engage in the sexual activity; despite Melchior forcing himself on her.

In the play, Wendla had a crush on Melchior but does not appreciate his advances on her in the hayloft; her protests, however, only spur Melchior on, as he assures her that love does not exists and his raping of her is perfectly fine and acceptable.

The rape leads to Wendla getting pregnant with his child, in both the play and the Musical

Wendla's mother finds a letter addressed to her from Melchior, she discovers her daughter sexual intercourse, and tries to fine Judge Gabor (Melchior's Father) as well as enlighten him on the situation. Frau Bergmann scolds Wendla for acting in such a manner. Wendla defends herself in saying it is her mothers fault for not telling her everything. Wendla is taken to a shady place where she is given a botched abortions by Mother Schmidt, at the cost to her life.

Wendla supports Melchior as a spirit at the end of the musical, she does not appear again in the play.

Personality Edit

Wendla is sweet and very innocent, but she has a streak of defiance and some dark undertones to her personality, underneath all that sweetness. She's fascinated with death, specifically her own, and her desire to experience real, intense emotions and sensations sometimes drive her to take drastic measures. She's very intelligent and compassionate, she's extremely curious about the world around her, but most of all, she's just a teenager discovering herself and coming into her own for the first time. Though she cannot articulate it, she is very repressed by her situation and resents it. She wants freedom and independence and equality with men. That being said, other readings of the script show a willful innocence to Wendla in order to prolong her childhood and this is not necessarily inaccurate either.

She is attracted to Melchior, both romantically and sexually, and him to her. There is a kinship between them in both the play and the musical as they understand each other well intellectually and can have the deep debates that Melchior clearly yearns for. To Wendla he is someone to talk to and satisfy her lust for knowledge. A central tragedy to their relationship (despite her obvious rape and death) is that Wendla and Melchior are incredibly compatible both romantically, emotionally, and sexually. In a society where he is taught to view girls as inferior and submissive and where both are given inaccurate sexual education, their relationship is doomed from the start. A major point to Wedekind's play is not that Wendla and Melchior are incompatible but that the society turns their relationship into the fatal rape it becomes.

There is a deep sadness in Wendla from the very beginning of the play. She is utterly in the dark about everything around her and yearns for knowledge on a level even more than Melchior does. She has an anger towards her mother that she can only articulate in "Mama Who Bore Me" while being sweet and genial towards her mother outside of the song world. On the other hand a part of her wants to remain a child and not grow up and she is willfully ignorant. She's an incredibly complex child. She is very different from her friends and finds herself thinking more mature thoughts than anyone she knows. She is empathetic towards Martha but also wants to experience what she is going through in a twisted sadomasochistic way. There is a selfishness to Wendla Bergmann. And there is an anger, there is a defiance and a power. She is a bundle of contradictions who is seen as simply "a sweet girl" by everyone around her, a fatal flaw of her society.

Fun Facts Edit

challenges Melchior's beliefs a lot more in the play but still a little in the musical and that is what initially draws them together

Deaf in the Deaf West production of Spring Awakening.

Wendla is an aunt.

She donates money and clothes to those less fortunate, in the play with her mother's prompting, and in the musical as a part of her youth group

Has sadomasochistic tendencies as exhibted in the scene before "The Dark I Know Well," the beating scene, and in the hayloft scene when she communicates that she wanted the beating and in a way enjoyed it

On her tombstone, it said she died of anemia rather than died of a botched abortion.

In the play she dies not of a botched abortion but of an overdoes on an abortive substance she drank

In the play her tombstone says "blessed are the pure of heart" meant to highlight the provincial obsession with purity and the falseness of their society as Wendla's "sin" was what inevitably killed her

Bergmann is a Jewish surname

She is much darker, yet still incredibly naive in the play

She asks her mother to let her walk around with out underwear in the play

Wendla has a sister

In the play she says she is incredibly proud to be a girl and would kill herself if she was anything else, but says she wishes only to have boys as she thinks to be a girl loved by a boy is the greatest thing in the world

In the play she consistently combats Melchior's theories about society, taking more of a socialist like stance towards his feelings of a lack of need for charity if it doesn't make one feel good. In the musical she takes the same stance that the poor must be helped and society must work for everyone, though Melchior agrees with her.

Her first and last words of the musical are her shouting "mama"

The consenuality of her sex with Melchior is an oft debated point, despite her lack of knowledge on sex, how she tells him to stop and he convinces her that it's "okay" and that she only doesn't want it because the adults have told her it's wrong. Many concede that she was coerced into having sex but will deny that it was rape, despite the fact that sexual coercion is under the dubious consent umbrella and thus, because it's not 100%, enthusiastic consent, rape.

In the play it's undeniably rape and Melchior even admits to such.

A recording of "I Believe" from a 2001 workshop at the Roundabout Theatre, featuring Lea Michelle and Gavin Creel, has a piercing scream from Wendla at the end of the song. The scream is toned down/virtually removed and the meaning all together changed by 2006 in the Off-Broadway Debut. One could insinuate in 2001 the show represented the Hayloft Scene as rape, but decided to change the interpretation somewhere between 2001-2006.

Pictures Edit

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Wendla Bergmann is the female lead of the Spring Awakening play and musical, and the tritagonist overall. She dies in both from a botched abortion. Lea Michele played Wendla in the Original Broadway Cast. Wendla Bergmann (May 5, 1878 - October 27, 1892) is a 14 year old girl living with her mother in Germany.

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There are many different ranges of pitches that people sing and when some of them are sung together it sounds really nice as they harmonise with each other.

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Every singer wants to know what his/her voice type is, but it's not always so easy to figure out the specifics. Continue reading on to learn how to find out what your particular voice type is. Soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, or bass; all you need to know is in this post.

Characteristics - Variables in Determining Voice Type

Figuring out your voice type is not only a matter of looking at your vocal range, but at a number of different characteristics. For example, vocal tessitura and timbre can be more important as range can be between types. This is usually the case with sopranos and mezzo-sopranos; they might have the same range but mezzo-sopranos have a lower tessitura and darker timbre.

All together your voice type is a result of the following vocal variables:

range - the notes your body can produce

weight - light voices, bright and agile; heavy voices, powerful, rich, and darker

tessitura - part of the range which is most comfortable to sing

timbre - unique voice quality and texture

transition points - points where you change from chest, to middle, to head register

vocal registers - how extended each register is

speech level - speaking range

physical characteristics

I know that you're probably surprised at the fact that physical characteristics play a role in deciding somebody's voice type. This is because many times physique determines what roles opera singers are going to audition for.

I have seen productions where the audience bursts out laughing when the primo uomo (leading man) sings to the prima donna something along the lines of "oh, how small and fragile you are" when she is nothing close to small and fragile.

Major Category - Voice Types by Range and Tessitura

If you sing in a choir or take voice lessons, you have probably already been classified as a soprano, mezzo-soprano, or contralto (alto) if you are a woman, and a countertenor, tenor, baritone, or bass if you are a man. But are you really sure you've been classified correctly? Test your voice according to the following specifications.

Soprano

Soprano is the highest female voice type. There are many types of sopranos like the coloratura soprano, lyric soprano, the soubrette etc. which differ in vocal agility, vocal weight, timbre, and voice quality; I will talk about them in an upcoming article. All of the sopranos have in common the ability to sing higher notes with ease.

A typical soprano can vocalize B3 to C6, though a soprano coloratura can sing a lot higher than that reaching F6, G6 etc. At this point I would like to debunk a myth. It is widely thought that the higher a singer can sing, the better the singer is. This couldn't be further from the truth as range is defined by our physique and size of the vocal cords, not not how professional we are.

Mezzo-Soprano

Mezzo-Soprano is the second highest female voice type. In a choir, a mezzo-soprano will usually sing along the sopranos and not the altos and will be given the title of Soprano II. When the sopranos split in half, she will sing the lower melody as her timbre is darker and tessitura lower than the sopranos.

Though in the opera mezzo-sopranos most often hold supporting roles and trouser roles, i.e. male roles, there are notable exceptions like those of Carmen and Rosina in The Barber of Seville, where the prima donna is a mezzo-soprano. A typical mezzo-soprano can vocalize from G3 to A5, thought, some can't sing as high and some can sing as high as a typical soprano.

Contralto

Contralto is the lowest female voice type. In a choir, contralto's are commonly know as altos and sing the supporting melody to the sopranos. This doesn't mean that contraltos are not as important. On the contrary, because true altos are hard to find, a true alto has greater chances of a solo carrier than a soprano.

A contralto is expected to be able to vocalize from E3 to F5, however, the lower her tessitura, the more valuable she is. I have the pleasure to know a young Greek contralto whose range has experts puzzled. She can sing from C3 to F6! But unfortunately she has not yet been discovered. I'm trying to get her to start blogging, but for the time being, you can follow her on Pinterest.

At this point, I would like to note something about altos and choirs. I have come across many women who have been classified as altos in their choir, though their voice type is really that of a mezzo-soprano or soprano.

From what I have come to realize, many choir directors instead of spending time to work with women who sing off tune, they decide to have them sing along the altos thinking that their false singing will blend in.

This practice can be very detrimental, especially for young girls who strain their voices in order to sing lower than they can, and can produce irreversible damage. If you sing alto in your choir and you feel that you are pushing yourself to reach the low notes of your melodic line, talk to your choir director and ask him/her to consider re-classifying you as a soprano. The director might not be happy to do so, as choirs usually have more sopranos than altos, but insist that they at least test you out.

Countertenor

Countertenor is the rarest of all voice types. A countertenor is a male singer who can sing as high as a soprano or mezzo-soprano utilizing natural head resonance. As I said before, countertenors are extremely hard to come along and their ability to sing as high as C6 is admired by religious music connoisseurs.

Though extremely unique, countertenor is not an operatic voice type, as historically, it was the castrati (male singers castrated before puberty) who would be chosen for the female operatic roles - it was not proper for women to sing in the opera. Instead, countertenors were popular in religious choirs, where women were also not allowed to participate.

The castratti are out of the scope of this post, but for those who are interested to learn more about them, I would like to recommend the movie Farinelli, a literary twist on the life of Farinelli, the most famous castrato of all times.

Tenor

Tenor is the highest male voice type you will find in a typical choir. Though it is the voice type with the smallest range, it barely covers 2 octaves from C3 to B4, tenors are the most sought after choir singers for two major reasons. The first reason is that there aren't as many men singing in choirs to begin with. The second reason is that most men, singers or not, fall under the baritone voice type.

In the opera, the primo uomo is most often a tenor, and you will know he is a tenor because of the ringing quality in his voice. A true tenor has a high tessitura, above the middle C4, and uses a blend of head resonance and falsetto, as opposed to falsetto alone.

Many a baritone will try to use this technique to classify as tenor and some will be successful; you'll know who they are because of their red faces when trying to sing the high notes in the tenor melodic line. 🙂

Baritone

Baritone is the most common male voice type. Though common, baritone is not at all ordinary. On the contrary, the weight and power of his voice, give the baritone a very masculine feel, something that in the opera has been used in roles of generals and, most notably, noblemen. Don Giovanni, Figaro, Rigoletto, and Nabucco are all baritones.

In a choir, a baritone will never learn about the particulars of his voice, since he will have to sing either with the tenors or the basses. Most baritones with a high tessitura choose to sing with the tenors, and respectively, the ones with a lower tessitura sing with the basses. Their range is anywhere between a G2 and a G4 but can extend in either way.

If you sing tenor and can't reach the higher notes with ease, or sing bass and can't reach the lower notes naturally, you're most probably a baritone and you shouldn't worry about it. Let your fellow singers help out.

Bass

Bass is the lowest male voice type, and thus a bass sings the lowest notes humanly possible. I tend to think of the deep bass notes as comparable to those of a violoncello, though some charismatic basses can hit notes lower than those of a cello. A bass will be asked to sing anywhere between a D2 and an E4. A cello's lowest note is a C2.

Just with every extreme, it's really hard to find true basses and it's almost impossible in the younger ages where the male bodies are still developing.

Though in a choir basses might have rather monotone melodic lines, in the opera they have a great range of roles to choose from. Basses are used as the villains and other dark characters, the funny buffos and in comic-relief roles, the dramatic princes, the noble fathers of heroines, elderly priests and more.

Now that you have learnt all about the major categories in voice types, I'm sure you'll want to know how to distinguish between the secondary categories. Do you know the difference between a lyric soprano and a dramatic soprano or a leggero tenor and a spinto tenor? How can you tell which one you are?

Learn all this and more in the second part of this post about the German Fach system. If you haven't yet done so, subscribe to my monthly newsletter or feed, and get my post about the different subcategories of voice types delivered to you effortlessly as soon as it becomes available.

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What's My Voice Type? The Different Voice Types and How to Distinguish Them - Choirly.com

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Every singer wants to know what his/her voice type is, but it's not always so easy to figure out the specifics. Continue reading on to learn how to find out what your particular voice type is. Soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, or bass; all you need to know is in this post.

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A story once banned from the British stage due to its celebration of adolescent sexuality and its impassioned attack on conventional morals has made a comeback as a rock musical.

Teenagers have been so keen to get their hands on tickets for Spring Awakening that organisers were forced to extend its run before the critics have seen it. Early preview performances have sold out, in part because interest has been stoked by internet fan sites and the popularity of the songs.

The uncompromising musical, which looks at masturbation, abortion, child abuse and homosexuality, has arrived in Britain from Broadway, where it became an overnight hit, taking more than $50m (£35m) at the box office.

Set in Germany in the late 19th century, it tells of the sexual experimentation of teenagers who have little guidance on how to cope with their growing erotic desires. The show closely follows the plot of the controversial play by the German playwright Frank Wedekind, written in 1891 and subtitled "A children's tragedy". It might sound an unlikely basis for a rock musical, but the production won eight Tony awards, including best musical.

When the play was put on privately by the English Stage Society for two nights only in 1963, it was heavily censored by the Lord Chamberlain, who vetted all theatre scripts until 1968.

Tom Hulce, best known for his portrayal of Mozart in the film Amadeus, is the producer of the new musical adaptation. Casting young British actors, he has brought Spring Awakening to the Lyric Hammersmith, in west London, hoping for a strong reaction when the press see the show on Tuesday night.

"The story is so shockingly contemporary even now," he said. "There is such a range of experience there, as the characters are each shown growing into their adult lives."

Hulce said he had wanted to turn the play into an opera, but then discovered that the American composer Duncan Sheik and lyricist Steven Sater were working on a rock musical. "What they have done with it is so smart and so difficult, because there is both the tension of the story and the release of the rock music," he said.

In 1964 the National Theatre attempted to mount a full version of the play but was stopped after a row that came close to causing a permanent split between the theatre's board and its creative team, led by Laurence Olivier, the artistic director, who battled to get the play past the official censor. A letter discovered in the National Theatre archive shows that his literary manager, the critic Kenneth Tynan, wrote to the Lord Chamberlain in 1964 arguing that the National had a duty to stage radical work.

The theatre urged the censor to admit the value of this "accepted classic of German drama", a work that revealed the "danger of employing Victorian severity to prevent adolescents from discovering the facts of normal sexual life".

A compromise was reached with the deletion of some scenes, but the board of the National decided not to stage the play anyway. The chairman said the board had to accept responsibility for all the plays produced.

"If the National Theatre produced it [Spring Awakening], the bitterest controversy would result," he said, pointing out that the press would highlight the difference between what was permissible at a club performance and what could be expected of a theatre supported by public funds.

While Hulce's musical was in development notes from the production that was finally staged in 1974 were sent over. "The notes we received allowed us to understand the strengths and weaknesses of that production," said Hulce. The producer believes that the British demand for tickets can be put down to the impact of the internet. "The younger element of the audience has been a superb ambassador for the show," he added.

A film version of the musical is in development in America and more international productions are planned.
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Banned sex play Spring Awakening now a teenage hit

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Written in the 1890s, censored in the 1960s, tale of young desire Spring Awakening is back on stage as a musical

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Spring Awakening is a Tony Award-winning rock musical with music by Duncan Sheik and book and lyrics by Steven Sater. The musical is based on the controversial 1891 play of the same title by Frank Wedekind.

Set in late-nineteenth century Germany, it concerns teenagers who are discovering the inner and outer tumult of Human sexuality. The original play was banned in Germany due to its portrayal of masturbation, abortion, rape, and suicide. In the musical, alternative rock is employed as part of the folk-infused rock score.

After a number of workshops, concerts and rewrites over a seven-year period, Spring Awakening premiered Off-Broadway at the Atlantic Theatre Company on May 19, 2006 and ran through August 17, 2006. The show then opened on Broadway at the Eugene O'Neill Theatre on December 10, 2006 and received favorable reviews. Spring Awakening received eleven 2007 Tony Award nominations, winning eight, including Tonys for best musical, direction, book, score and featured actor. The show also won four Drama Desk Awards, including Outstanding Musical. The production is directed by Michael Mayer and choreographed by Bill T. Jones.

Decca Broadway released the original cast recording on December 12, 2006, which won the Grammy Award for Best Musical Show Album in 2008. The guitar Sheik used to compose songs for Spring Awakening is on display at the New York Library For The Performing Arts.

Spring Awakening closed on Broadway on January 18, 2009, after 888 performances (859 on Broadway, 29 previews).

Wendla Bergmann, an adolescent in late-nineteenth century Germany, laments that her mother gave her "no way to handle things" and has not taught her the lessons she needs to learn ("Mama Who Bore Me"). She tells her mother that it is time she learned from where babies come, considering that she is about to be an aunt for the second time, but her mother cannot bring herself to explain the facts about conception clearly to Wendla. Instead, she simply tells Wendla that to conceive a child a woman must love her husband with all of her heart. The other young girls in town appear to be similarly innocent and are upset about the lack of knowledge presented to them ("Mama Who Bore Me (Reprise)").

At school, some teenage boys are studying Virgil in Latin class. When Moritz Stiefel, a very nervous and intense young man, sleepily misquotes a line, the teacher chastises him harshly. Moritz's classmate, the rebellious and intelligent Melchior Gabor, tries to defend him, but the teacher will have none of it, and hits Melchior with a stick. Melchior reflects on the shallow narrow-mindedness of school and society and expresses his intent to change things ("All That's Known").

Moritz describes a dream that has been keeping him up at night, and Melchior realizes that Moritz has been having dreams of an erotic nature. To comfort the panicked Moritz, Melchior, who has learned sexual information from books, tells Moritz that all of the boys at their age get the dreams. The burned-out boys tell about their own frustrating thoughts and desires ("The Bitch of Living"). Moritz, who is not comfortable talking about the subject with Melchior, insists t of the boys and girls express their desires for physical intimacy ("Touch Me").

Wendla stumbles upon Melchior while walking through the woods. The two share a moment while sitting together in front of a tree. Each of them considers what it would be like to give in to their physical desires, but they do not do so ("The Word of Your Body"). Meanwhile, at school, Moritz is thrilled to learn that he has passed his midterm examinations, but the teacher and schoolmaster cannot pass everyone, so they decide to fail Moritz.

Martha, one of the teenage girls, accidentally admits to her friends that her father abuses her physically (including sexual abuse) and that her mother is either oblivious or uncaring. The other girls are horrified to hear this, but Martha makes them promise not to tell anyone, lest she end up like Ilse, a friend from childhood who now wanders homeless and aimless because her parents kicked her out of the house.("The Dark I Know Well"). Later, Wendla finds Melchior again at his spot in the woods and tells him that her father regularly abuses one of her friends. Melchior is appalled to hear this, but Wendla convinces him to hit her with a switch, so that she can understand her friend's pain. Melchior reluctantly complies but is carried away and throws her to the ground. He then runs off, disgusted with himself, as she weeps curled up on the ground. Alone, Wendla finds that Melchior has left his journal on the ground. She picks it up and takes it with her.

Moritz has failed his final examination, and his father reacts with disdain and contempt when Moritz tells him that he will not progress in school. Moritz writes to Melchior's mother, his only adult friend, for money to flee to America; she tenderly but firmly denies his request but promises to write his parents to discourage them from being too hard on him ("And Then There Were None").

In a stuffy hayloft during a storm, Melchior considers his own frustration at being caught between childhood and adulthood ("The Mirror-Blue Night"). Wendla finds him once again, telling him she wants to return his journal, and each awkwardly apologizes for what happened the last time they met. Before long, they begin to kiss; Wendla resists his advances at first. Although she seems uncertain about how far she wants to take their physical relationship, they begin to have sex as the lights go down. ("I Believe").

Wendla and Melchior are finishing their moment of intimacy in the hayloft; they reflect on and discuss what has just happened ("The Guilty Ones"). Moritz, having been thrown out of his home, wanders the town at dusk, carrying a pistol ("Don't Do Sadness"). He happens upon free-spirited Ilse, who has found refuge at an Artists' colony, she invites him to join her in sharing some childhood memories, and perhaps something more, but Moritz refuses ("Blue Wind"). After she has left, he calls after her, but it is too late; she is gone. Regretting his lost opportunity to follow Ilse, and believing that he has nowhere to turn, Moritz shoots himself.

At Moritz's funeral, each of his friends drops a flower into his grave, and Melchior chastises Moritz's father for being so cruel to his friend, as the other students look at Moritz's father with disgust for pushing Moritz too hard when he was alive ("Left Behind"). Back at school, the schoolmaster and teacher inform Melchior that Moritz's parents found the sex essay he had written for him. They lay the blame on Melchior for his friend's suicide, and although Melchior knows that he is not to blame, he knows there is nothing he can do to fight them, and he is expelled ("Totally Fucked"). Elsewhere that night, Hanschen meets up with his shy and delicate classmate Ernst. Hanschen shares his pragmatic outlook on life with his classmate before seducing him. It is Ernst's first sexual experience, and he tells Hanschen that he loves him as the two share a passionate kiss ("The Word of Your Body (Reprise)").

Wendla has become ill, and her mother takes her to visit a doctor. He gives her some medication and assures them both that Wendla is suffering from anemia and will be fine, but he takes Wendla's mother aside and tells her that Wendla is pregnant. When her mother confronts her with this information, Wendla is completely shocked, not understanding how this could have happened. She realizes that her mother lied to her about how babies are made. Although she berates her mother for leaving her ignorant, her mother rejects the guilt and insists Wendla tell her who the father is. Wendla reluctantly surrenders a passionate note Melchior sent her after they consummated their relationship. Wendla reflects somberly on her current condition and the circumstances that led her to this difficult position but ends with optimism about her future child ("Whispering"). Meanwhile, Melchior's parents argue about their son's fate; his mother does not believe that the essay he wrote for Moritz is sufficient reason to send him away to reform school. When Melchior's father tells his wife about Wendla's pregnancy, however, she agrees that they must send Melchior away, which they do without telling him that Wendla is pregnant.

At the reform school, Melchior gets into a fight with some boys who grab a letter he has just received from Wendla and use it in a masturbation game. As one of the boys reads from the letter, Melchior finally learns about Wendla and their child, and he escapes from the institution to find her. He does not know that Wendla's mother has already taken her to an underground practitioner to have an abortion. When Melchior reaches town, he sends a message to Wendla's friends to have her meet him at the cemetery at midnight. There, he stumbles across Moritz's grave, and swears to himself that he and Wendla will raise their child in a compassionate and open environment. Spotting her freshly dug grave, Melchior discovers that Wendla has died from her abortion. Overwhelmed by shock and grief, he takes out a razor with the intention of killing himself. Moritz's and Wendla's spirits rise from their graves to offer him their strength. They persuade him to journey on, and he resolves to live and to carry their memories with him forever ("Those You've Known").

Led by Ilse, everyone assembles onstage to sing "The Song of Purple Summer" about life and hope.

Template:Col-begin Template:Col-2

"Mama Who Bore Me" - Wendla

"Mama Who Bore Me (Reprise)" - Wendla and Girls

"All That's Known" - Melchior

"The Bitch of Living" - Moritz, Melchior and Boys

"My Junk" - Girls and Boys

"Touch Me" - Boys and Girls

"The Word of Your Body" - Wendla and Melchior

"The Dark I Know Well" - Martha, Ilse and Boys

"And Then There Were None" - Moritz and Boys

"The Mirror-Blue Night" - Melchior and Boys

"I Believe" - Boys and Girls

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"The Guilty Ones" - Wendla, Melchior, Boys and Girls

"Don't Do Sadness" - Moritz

"Blue Wind" - Ilse

"Don't Do Sadness/Blue Wind" - Moritz and Ilse

"Left Behind" - Melchior, Boys and Girls

"Totally Fucked" - Melchior and Full Company (except Moritz)

"The Word of Your Body (Reprise)" - Hanschen, Ernst, Boys and Girls

"Whispering" - Wendla

"Those You've Known" - Moritz, Wendla and Melchior

"The Song of Purple Summer" - Ilse and Full Company

++ Note: "The Guilty Ones" replaced off-Broadway version's Act II opening, "There Once Was A Pirate"; the latter is available as a bonus track sung by composer Duncan Sheik on the original cast recording. Template:Col-end

Before opening the show off-Broadway, Duncan Sheik had composed an arrangement of song demos for the original concept of Spring Awakening. The plot followed more closely to the original play's plot.

Steven Sater and Duncan Sheik had originally intended for Wendla to actually be raped by Melchior at the end of "I Believe", but decided to change that plot because he wanted the scene to be more loving between the two characters, and "I Believe" didn't give off a "raping" kind of feeling.

"All That's Known" replaced a song titled "All Numb". Both songs had the same theme, but because the directors had to reduce time for the show, "All Numb" was cut and replaced with "All That's Known".

A song called "A Comet On Its Way" was replaced by "The Bitch of Living", both songs followed the same basic theme. Though, Shiek thought that "The Bitch of Living", being more upbeat, fit the show better.

"Those You've Known" replaced a song called "The Clouds Will Drift Away", which was cut because Sheik wanted the song between the three main characters to stay close to the "All That's Known" theme.

"Mama Who Bore Me (Reprise)" was originally intended to be performed after "Touch Me".

Another song, entitled "Great Sex" (which was intended to be performed after "Mama Who Bore Me (Reprise)"), was also cut from the show because the directors thought the song pointed out the theme of the show too vaguely.

Finally, songs such as "Touch Me" and "The Mirror-Blue Night" each had a reprise. Even "There Once Was A Pirate", which was cut, also had a reprise.

The play's major theme is sex and the discovery of it. The play contrasts two conflicting views of sex: Melchior's flippant, hedonistic, purely physical view and the older generation's oppressive prudish view. In Act 1, it the play would seem to be promoting Melchior's view, but at the play's closure, the message is given that neither Melchior's view of sex nor that of the older generation is the right view to have, as both views led to pain and confusion. A main idea is that, while none of the deaths in the play would have occurred without sex, we couldn't have life in general without sex as well.

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Final Broadway Cast:

Melchior;- Hunter Parish

Wendla - Alexandra Socha

Moritz - Gerard Canonico

Adult Men - [[Glenn Fleshler] U/S Tony Carlin]

Adult Women - Christine Estabrook

Ilse - Emma Hunton

Georg/Dieter - Andrew Durand

Martha - Amanda Castaños

Ernst/Reinhold - Blake Daniel

Otto/Ulbrecht - Gabriel Violett

Anna - Emily Kinney

Hanschen/Rupert - Matt Doyle

Thea - Caitlin Kinnunen

Ensemble - Morgan Karr, Alice Lee, Eryn Murman, Zach Reiner-Harris,

Swings - Jesse Swenson

Melchior - Kyle Riabko

Wendla - Christy Altomare

Moritz - Blake Bashoff

Adult Men - Henry Stram; U/S Todd Cerveris

Adult Women - Angela Reed; U/S Kate Fuglei

Ilse - Steffi D.

Georg/Dieter - Matt Shingledecker

Martha - Sarah Hunt

Ernst/Reinhold - Ben Moss

Otto/Ulbrecht - Anthony Lee Medina

Anna - Gabrielle Garza

Hanschen/Rupert - Andy Mientus

Thea - Kimiko Glenn

Ensemble - Julie Benko, Perry Sherman, Krystina Alabado, Lucas A. Wells

Swings - Claire Sparks, Chase Davidson

Notable Tour Replacements:

Melchior - Matt Doyle, Jake Epstein

Moritz - Taylor Trensch

Ernst - Ben Fankhauser

Thea - Claire Sparks

Ensemble - Kayla Foster

Swings - Krista Pioppi

Notable Broadway Replacements:

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Melchior - Aneurin Barnard

Wendla - Charlotte Wakefield

Moritz - Iwan Rheon

Ilse - Lucy Barker

Martha - Hayley Gallivan

Thea - Evelyn Hoskins

Anna - Natasha Barnes

Hanschen - Jamie Blackley

Ernst - Harry McEntire

Georg - Jos Slovick

Otto - Edd Judge

Adult Woman - Sian Thomas (1st Understudy Yvonne O'Grady, 2nd Understudy Connie Walker)

Adult Man - Richard Cordery (1st Understudy Andrew McDonald, 2nd Understudy Geoffrey Towers)

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Template:Cleanup-section A U.S. national tour (with one stop in Toronto, Canada) opened August 15, 2008 at The Balboa Theatre in San Diego, California. Tour dates have been announced through to May 2010.

The European premiere took place on August 30, 2008, at Värmlandsoperan in Karlstad, Sweden. The production is directed by Per Eltvik and choreographed by Åsa Thegerström. The Swedish text is by Fredrik Fischer and Linnea Sjunnesson. It stars Joán Alderman (Melchior), Mari Haugen Smistad (Wendla) and Ole Aleksander Bang (Moritz). This production closed in March 2009. Template:Fact

The London production began 23 January 2009 at the Lyric Hammersmith and transferred to the Novello Theatre on March 21 2009. It closed on May 30, 2009.

An English-language production will open in Valletta, Malta at the St. James Cavalier Theatre on 17 April, 2009. This production will be directed by Wesley Ellul, choreographed by Fiona Barthet, Renzo Spiteri will be the musical director, and Alex Vella Gregory will be the vocal coach. This will be produced by the MADC. [1]See Official Website

The Hungarian-language (first non-replica) production premiered on 7 February 2009 in Budapest at Budapest Operetta and Musical Theatre. It is often praised for its use of eccentric interpretive dance and disco cubes.

The second Swedish-language production will open in Helsingborg, Sweden on 20 March 2009.

A Danish-language production will open in Aalborg, Denmark on 13 May 2009.

There is a third Swedish production planned, as well as three productions in Norway. [2]

The South Korean production will open in Seoul in 2009. Spring Awakening Korea

The Philippine production, to be produced by Manila-based Atlantis Productions, will run in Carlos P. Romulo Auditorium from September 25 to October 17, 2009.

The German-language premiere opened in Vienna, Austria in a limited run at the Ronacher Theatre on March 21, 2009, and closed on May 30, 2009. A live cast recording was released.

The Finnish production opened in Helsinki in February 2009.

The Japanese-language production opened in Tokyo at the Shiki Theatre Jiyu May 2, 2009. Spring Awakening Tokyo

There was a production performed by students of the RSAMD (Royal Scottish Academy of Music and Drama)which did not have the musical numbers and was only open fron the 20th to the 27th of May 2009

Sydney Theatre Company has announced they will stage the first Australian production in February 2010. A national tour is possible, but not confirmed.[3]

The official Brazilian production [non-replica] is set to open August 21st, in Rio de Janeiro. Wendla will be played by a 15-year-old (youngest Wendla ever).

Win/Best Musical

Win/Best Book of a Musical (Steven Sater)

Win/Best Original Score (Music and/or Lyrics) Written for the Theatre (Music: Duncan Sheik; Lyrics: Steven Sater)

Nomination/Best Performance by a Leading Actor in a Musical (Jonathan Groff)

Win/Best Performance by a Featured Actor in a Musical (John Gallagher Jr.)

Win/Best Direction of a Musical (Michael Mayer)

Win/Best Choreography (Bill T. Jones)

Win/Best Orchestrations (Duncan Sheik)

Nomination/Best Scenic Design of a Musical (Christine Jones)

Nomination/Best Costume Design of a Musical (Susan Hilferty)

Win/Best Lighting Design of a Musical (Kevin Adams)

Outer Critics Circle Awards

Win/Outstanding New Broadway Musical

Win/Outstanding New Score (Broadway or Off-Broadway)

Win/Outstanding Director of a Musical (Michael Mayer)

New York Drama Critics Circle Award

2008 Grammy Awards

Win/Grammy Award for Best Musical Show Album

Template:Col-break Drama Desk Awards

Drama League Awards

Lucille Lortel Awards

Win/Outstanding Musical (tied with In the Heights)

Nomination/Outstanding Director (Michael Mayer)

Nomination/Outstanding Choreographer (Bill T. Jones)

Nomination/Outstanding Costume Design (Susan Hilferty)

Win/Outstanding Lighting Design (Kevin Adams)

Nomination/Outstanding Sound Design (Brian Ronan)

Template:Col-end

Warner Brothers has announced consideration of making a movie adaptation of Spring Awakening. Template:Fact McG is announced as being attached to direct.

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Template:DramaDesk Musical Template:TonyAwardBestMusical 2001-2025 Template:TonyAward MusicalScore 2001-2025 Template:TonyAward MusicalBook 2001-2025 Template:Duncan Sheik

de:Frühlings Erwachen (Musical)it:Spring Awakening ja:春のめざめpt:Spring awakening

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Spring Awakening is a Tony Award-winning rock musical with music by Duncan Sheik and book and lyrics by Steven Sater. The musical is based on the controversial 1891 play of the same title by Frank Wedekind. Set in late-nineteenth century Germany, it concerns teenagers who are discovering the inner and outer tumult of Human sexuality.

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It is very important to trained all three disciplines to make you a strong performer on stage when doing musical theatre. Skills and techniques are two very important things to have as you want to make self stand out to the audience in a positive way and also have these skills and technique to help you get into character. Some of these include Stamina, confidence and flexibility.

I think that it is important to have good stamina because might need to sing and dance at the same time which will defiantly require stamina as you when singing you don't want to sound out of breath because you are dancing and you also don't want to that out of breath from doing both that your movements become sloppy and unfinished.
I think that confidence is a really important thing to have as whiteout these you won't be able to fully become the character.
Flexibility is important to have as an all round actor you need to be able to adapt to different characters and different styles of songs that might have to sing and also different styles of dances that you might have to do when talking part in different musicals

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Those who wish to pursue a career in the performing arts need to display certain skills and talents. Without these skills and talents, an actor, dancer or musician may fail to progress in the industry. Here are some of the skills that a performer should possess if they are hoping to make it in the world of performing arts:

Performance Skills (Acting, Dancing, Singing)

Anyone who is hoping to progress in the performing arts industry must be skilled in their chosen discipline. Without the required skills, they will not even be given the opportunity to audition. The industry is very competitive, so those who fail to make the grade will not get far.

Some performers specialise in one single discipline, whereas other performers are multi-skilled. Candidates who have been to stage school will often be able to show off a wide range of different performance skills. Candidates who have not been professionally trained may need to be more selective about the roles that they apply for.

Confidence

Performing in front of other people requires a lot of confidence. Although it is natural for performers to be nervous before they go out in front of a crowd, a performer should be able to use their nerves to better their performance.

Self-Publicist

Performers must be able to market themselves properly if they wish to get roles in future productions. Most performers will be forced to market themselves regularly if they attend auditions to try to secure work. Being good at self-publicity involves understanding strengths without overselling oneself.

Resilience and Ability to Withstand Criticism

All performers will experience rejection at some point during their career, because it is impossible for one performer to be right for every single part that they audition for. Most performers will also experience some criticism about their performances at some stage. The performing arts are often subjective, so it is unlikely that any performance will appeal to every viewer. Rather than withdrawing, a performer must be able to use criticism and rejection to help them to improve on their performance.

Self-Reflective

Great performers are self-reflective. They are able to look at each of their performances and use the information that they gather to help them to improve themselves. Being self-reflective allows actors to draw on their own performances without developing negative or overly critical feelings about themselves.

Quick-Learner

Performers should be able to learn new pieces quickly and then be able to perform those pieces without the need for additional cues. Some performers are required to learn new scenes or performance pieces within a few hours. A playwright or director may also want to change the way that a scene works, so the performer may be forced to completely relearn different material.

Flexibility

A performer will need to take on a variety of different roles over the course of their career. Being flexible will allow them to move between roles easily. This means that they should be able to play the role of a criminal in one performance and then play a hero in their next role. Dance performers may need to be flexible enough for perform dances from a wide range of different genres.

Stamina

Performers may be required to work long hours for lowish pay. In the run up to the opening night or the first performance of a new piece, those who are involved may have to work non-stop. Because there are often set deadlines with performances, those who are involved are required to keep working until everything is ready. Many performers are also required to work additional jobs outside of the performance sphere.

A lot of actors, dancers and singers in Britain also do shift work such as waitressing or working in retail. They may be required to finish their day job shift and then go straight on to the performance space.

Teamwork

There are a lot of different people involved in creating a successful performance; therefore anybody who is involved in producing a performance is required to have strong teamwork skills. Listening and communicating well with others will help the performance to come together properly. Understanding instructions and being able to carry them out as requested can help performers to meet their brief.

Analytical

A performer should be able to analyse the source material that they are given, so that they can understand the key ideas and themes of the piece. Understanding the key ideas and themes of a piece will allow a performer to improve their interpretation of the piece and enhance their performance.

Creativity

Performers must be creative if they wish to set themselves apart from others who are involved in the industry. In addition to being able to create entirely new material, a performer should be able to reimagine and reinterpret existing work. For example, an actor may be able to gain attention for himself or herself by performing a different interpretation of a Shakespearean character.

Open-Minded

Performers should be open-minded about the subject matter that they are being asked to perform. However, they should also understand that there may be criticism from some parties if the subject of the performance is controversial. Some performances may involve experimental techniques or be largely conceptual rather than following standard narrative patterns. Performers may need to think about challenging their own boundaries to produce the perfect piece of art. On the other hand, each individual must know where to draw the line and be able to say no if they believe that requests are not suitable.

Time Management and Organisation Skills

A performer should have strong time management and organisational skills. Many performers are actually required to work on more than one project at a time, so they need to be able to keep track of their schedule. It is essential for a performer to arrive at their performance space in good time or else it could hold up the entire performance. Good organisational skills will help a performer to make sure that they are adequately prepared for each different project.

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Skills needed in the Performing Arts Industry

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Those who wish to pursue a career in the performing arts need to display certain skills and talents. Without these skills and talents, an actor, dancer or musician may fail to progress in the industry.

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Even in Ancient Greek acting, songs and dancing was all used and this helped influenced what musical theatre is today. However it in 1700's theatre that included sings, dancing and acting came more and more popular with audience member and it is in the 17000's that people classed this as entertainment. It wasn't actually till the start of 1800's it was called Musical theatre.

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The ancient Greeks had plays with songs, and Roman comedies included song and dance routines. But the music of these eras disappeared long ago, so they had no real influence on the development of modern musical theatre and film.

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It is difficult to become an actor/ performer in the musical theatre industry as you are competing against very talented people.
It is important that you keep up to adept with trends, having training in all three disciplines and prime your self in a positive way.

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Audra McDonald, Patti LuPone, Lin-Manuel Miranda: they're some of the definitive faces of musical theater, but they all started somewhere. Before they were multi-Tony Award winners, they were performers with ambition, just like you.

Of course, becoming a musical theater actor is easier said than done, but if performing is what you love to do, there's no reason you, too, can't make it happen for yourself. You will need a bevy of tools, though, and that's where we come in. In this guide, you will receive all the vital information you need to become a musical theater actor, from audition materials and preparation to the all-important MT terms you must know to the best survival jobs to subsidize your career at its onset and beyond. In other words, this is your shot, so don't throw it away (and no, that will not be the only reference to "Hamilton" you will read in here).
What do I need to know before beginning my musical theater career? How do I begin? What do I need to know about musical theater auditions? Living as a musical theater actor:
What do I need to know before beginning my musical theater career?

From various venues for musical theater performance to iconic performers, here's a breakdown of what to know before embarking on any MT pursuit.

Where can I perform?

When you think musical theater, is your first thought Broadway? Of course, the Great White Way is somewhat synonymous with musical theater, but it's hardly the only realm of entertainment where song meets acting. In addition to theaters on Broadway, as well as Off-Broadway, Off-Off-Broadway, and regionally nationwide. Cruise ships have also become a fertile breeding ground for successful musical theater actors, and oftentimes mount full-scale musical productions (check out the benefits of auditioning for cruise lines here).

Cabaret and open mics also provide ample opportunity for performers of varying experience levels to flex their onstage muscles. In New York City, for example, the midtown supper club Feinstein's/54 Below frequently produces minimally- or un-staged productions of cult musicals, short-lived pieces, or reunion concerts of shuttered productions.

Musical theater performance also isn't limited to strictly live and onstage; there is also musical theater on camera, a form which is currently enjoying a resurgence of popularity and relevance in the past decade thanks to television projects like "Glee," "Smash," and "Crazy Ex-Girlfriend," as well as recent musical films like "La La Land" and the live action "Beauty and the Beast." Adding to the musical-on-camera momentum is the trend of network telecasts of musicals, either performed live or prerecorded. Beginning in 2013 with NBC's "The Sound of Music" and followed by "The Wiz" the following year, fellow networks have followed suit: Fox, with its respective takes on "Grease," and "The Rocky Horror Picture Show," and ABC with its forthcoming "Dirty Dancing" remake.

What is a triple threat?

A phrase used with ubiquity in musical theater is "triple threat." But what, exactly, does that mean? In simplest terms, a triple threat is a performer who's mastered the three key elements of MT performance: singing, dancing, and acting. Do you have to be immaculately versed in all three to book gigs? Absolutely not. In fact, depending on what role in the musical theater realm you wish to fill, you will likely be stronger in two out of three.

For example, talent going out for leading roles on Broadway will undoubtedly be sensational actors and singers-but they are frequently less trained in dance. There's even an industry term for this: "Movers." On their resumes, in fact, it will say something to the effect of "moves well," as the term "dancer" has different implications. Similarly, performers who aim to fill out the ensemble of a musical will be expected to have a level of pristine dance skill, but sometimes their singing voice doesn't rank among the very best. All that being said, expertise in all three areas is still expected and the more versatile and developed a performer's skill set is, the more jobs they are likely to be seen for and book.

Who are the greats, then and now?

Though styles and content have of course evolved, musical theater has been a staple of performance for more than a century, and has been the source some of our greatest performers. Going back to the 1930s, Fred Astaire and Ginger Rogers began making movies together and went on to become two of the top box office names, starring in hit films including "Follow the Fleet" and "Swing Time." They also starred in "The Gay Divorcee," featuring the song "The Continental," which was the first-ever tune to win the Oscar for Best Original Song in 1934.

Onstage, Tony and Grammy Award winner Ethel Merman rose to prominence around the middle of that century, originating roles in musicals including "Call Me Madam" and the iconic "Gyspy." Merman is, to this day, regarded as the mother of belting on Broadway, and is cited as an influencer by some of the stage's most prominent powerhouses including Idina Menzel and Stephanie J. Block.

Speaking of today's greats, Menzel and Block number among the prolific pool of musical theater's multifaceted talents, the likes of which are too plentiful to number. Leslie Odom Jr. has become one of the most sought after names in theater following his Tony winning run as Aaron Burr in "Hamilton," starring opposite the musical's title star, Lin-Manuel Miranda, who also wrote the show, which has become a worldwide phenomenon. Talents like Laura Benanti and Megan Hilty both remain stalwarts of the stage while spreading their talents to the small screen, as well. Meanwhile, major film star and Oscar nominee Jake Gyllenhaal demonstrated his versatility starring as the eponymous artist in the recent revival of what is regarded by many as Stephen Sondheim's best work, "Sunday in the Park with George."

What industry trends should I know about?

On the subject of "Hamilton," you may be aware that the hip-hop musical depicts the founding fathers, portrayed entirely by actors of color (a stark and intentional contrast to their real life counterparts including Thomas Jefferson and George Washington, all of whom were white). While "Hamilton" may be the foremost example of diverse and inventive casting in musical theater right now, it is hardly alone. In the same Broadway season that "Hamilton" opened was the first Broadway revival of the rock musical "Spring Awakening." The production was mounted by Deaf West Theatre, a company that designs shows using sign language so they can be experienced by both hearing and non-hearing audiences. The musical was also the first-ever show on Broadway to feature a wheelchair-bound actor.

While diversity in theater still has a long way to go, there are continued efforts to cast outside the box. The current stage adaptation of "Amélie," for example, stars Chinese-American actor Phillipa Soo in the title role, and this season's hit rock-opera "Natasha, Pierre & the Great Comet of 1812," features African American actor Denée Benton in the title role opposite Josh Groban. When Groban departs the role in July, he will be replaced by Okieriete Onaodoawan (also of original "Hamilton" cast renown), marking a still-rare feat: two black actors leading a show that is not "about" black characters.

For more about diversity in theater, check out this candid discussion on the subject with Bernie Telsey and Tara Rubin, two of Broadway's most prominent casting forces.

How do I begin?

Do you have to get a degree in musical theater to book a gig in musical theater? Do you need separate training for singing and acting? Here's how you can begin to actually delve into musical theater acting:

What training do I need?

BFA/MFA programs: Many musical theater performers have gone on to find success without a Bachelor of Fine Arts or Master of Fine Arts degree. However, if higher education is in the cards for you, choosing an institution where you can study your craft will be to your benefit, especially if you plan to pursue musical theater professionally. Picking a college is a monumental feat on its own, and the additional factor of training makes it even more so. Carnegie Mellon University, regarded as a musical theater holy grail, has spawned talents including Christian Borle, Josh Gad, Renee Elise Goldsberry, Billy Porter, and countless others. Many MT actors also attend Cincinnati Conservatory of Music, New York University's Tisch School of the Arts, and the University of Michigan, all of which have renowned programs. But there are also schools not known explicitly for their musical theater programs but at which you can still receive instrumental training; these include state schools and smaller universities. For tips on pinpointing your next stop upon departing the nest, check out Backstage's College Guide.

Acting classes: This one should be obvious, but acting classes are also essential for musical theater actors of any level. Not only will you be performing in front of an audience with each session, but you will also be exposed to several other performers, all of whom could be a valuable resource or industry contact. For tips on finding the acting class that's right for you, check out Backstage's guide on How to Choose an Acting Class.

Vocal training: Even the most accomplished musical theater stars continue their vocal training at every step of their career. In addition to making you sound pitch perfect, sufficient training will help you learn techniques for keeping your instrument strong and assuring that you never hurt yourself or put too much strain on your precious chords, whether you're making the rounds as a concert vocalist or performing eight shows a week. Here, you'll find the eight things you want in a voice teacher.

Dance training: Backstage Expert and dance guru Erika Shannon advises that every single performer sign up first for a ballet class, as it will lay down a strong yet broad dance foundation. She also advises that you join the class in which you feel comfortable, regardless of whether it's you along with a bunch of five-year-olds. Check out Backstage's guide to finding the right dance class here.

Scene study: Something which we'll delve into deeper later in this guide is the misconception that musical theater actors are less skilled when it comes to actual scene work in acting. Scene study courses should go hand in hand with your vocal and dance training, to help deepen your ability to interpret.

WATCH
How to Sing Like a Broadway Star

When should I start training?

There is no definitive answer as to when you should start training to become a musical theater actor. Like everything else, it depends much more on individual circumstances and your unique abilities. That being said, if you question many of the most successful MT performers, chances are they will say they began their endeavors at a young age, not necessarily professionally, but performing in youth theater programs or in school musicals.

It's never too late, though. Maybe you've been bitten by a later-in-life show business bug. There's still opportunity to perform recreationally or in non-professional capacities, and who knows where that may lead you? An outlet for expression is valuable regardless of the outcome.

What promotional materials do I need?

Headshot: You know how vital a good headshot is, specifically, one that reflects your type and accurately represents the way you look right now (not, say, two years ago). There aren't prominent differences between headshots for musical theater and other forms of acting. For extensive guidelines on everything you should know for obtaining your best headshots, see our comprehensive Guide to Actor's Headshots here.

Résumé: Similar to headshots, when it comes to musical theater, your résumé won't greatly vary from the résumé of an actor in other performance venues. The most notable difference will be noting your vocal type (soprano, mezzo-soprano, baritone, etc.), as well as your range ("high F"). Additionally, as we noted in the "triple threat" section, musical theater actors should include their "movement" level, especially if they are extensively trained in dance. For general insight on creating and formatting your résumé, check out our Backstage Experts' tips here.

Social media: A recent shift in the musical theater world is the role of social media. Obviously, a monumental aspect of theater, particularly commercial theater, is the often-elusive task of filling seats. There's no surefire way to do it (if there were, each producer would), but it is oftentimes helpful to book an actor with a built-in fanbase, which can be aggregated in part using social media. But social media can also be highly beneficial from the standpoint of establishing your brand and solidifying your type in the eyes of the casting team. Two-time Tony Award winner Laura Benanti, for example, credits Twitter with helping establish her comedic chops after she became known for playing mostly serious soprano roles in theater.

Website: Websites fall into a similar category of social media for musical theater actors. An extensive and well-curated website isn't "necessary" for booking jobs, but it can only benefit you in terms of selling yourself as a desirable product. Similarly, supplying the link to your website in the bio section of a program is an efficient way for audience members and creative folks alike to research you after you've wowed them with your performance.

Reel: Unlike each material listed above, there are key elements which should be kept in mind when putting together a musical theater reel. Tim Grady, an actor who began making reels for his costars and now does so professionally, describes MT reels as "more to show what you can do so that you can be brought back into callbacks to be seen later at an audition," as opposed to being used to book a specific gig. For more, check out Grady's five tips for creating a strong MT reel, bullet-pointed below:

1. Come performance ready

2. Look like yourself on your best day

3. Keep it short

4. Remember that it's not for booking roles

5. Don't wait until the last minute

RELATED:

What Do Actors Need to Make a Musical Theater Reel?

What are the best musical theater resources?

Since you find yourself reading this guide, it will not surprise you to hear that Backstage is without a doubt a leading resource for musical theater performers, both those just starting out as well as those who are more established. In addition to our extensive casting notices featuring MT jobs around the country and which include union and nonunion gigs, as well as by-appointment audition opportunities, open casting calls, and everything in between, Backstage is also an unmatched source of industry insight and guidance.

We've consulted with some of the most knowledgeable folks in the business to bring you informational audition advice tailored specifically to MT actors, such as 5 Musical Theater Audition Mistakes You Can't Afford and 5 Things to Do Before Your Next Musical Theater Audition.

Additionally, Backstage has access to some of the most successful professionals working in musical theater today, and we're passing their expertise along to you. Here, you can read how two-time Tony Award winner Sutton Foster has maintained onstage resiliency for over a decade. And Jeremy Jordan, who originated the leading role in Broadway's "Newsies" before making the jump to onscreen musical projects including NBC's "Smash" and the film adaptation of Jason Robert Brown's "The Last Five Years," shared with Backstage how he learned to perform musically on-camera.

We also have unmatched insight from musical theater creatives, sharing what they most desire from prospective actors. Sarna Lapine, who directed the "Sunday in the Park with George" revival, told Backstage what she and Mr. Stephen Sondheim were looking for when casting. "There's no guessing as to what the director's take is, but you should have your own take," she explained. "You should come in with your own ideas about your own version of that character. Hopefully you come in with a better idea than the one I had. That's the actor that I'm going to hire."

RELATED:

What are the musical theater terms I should know?

If a layperson were to hear two musical theater professionals candidly chatting about the biz, it may sound to them as though they were speaking a different language. Don't be intimidated! We've rounded up a number of key phrases and lingo with which anyone peripherally related to musical theater should be familiar. From EPAs to the pit to 16-bar cuts, here are nearly 100 expressions you need to know:

What should I know about musical theater auditions?
How do I book an audition?

The first order of business for booking an audition is actually finding one. Backstage is a great place to start because, as previously mentioned, we have musical theater opportunities of all sorts. Actors of any union status, as well as in any region, can find ample audition notices in our theater casting calls here.

Additionally, fellow actors (perhaps those you met in acting or dance classes) are a great way to stay in the know about upcoming auditions. Stay on good terms with as many of your peers as possible, this way, they may even put you up for a gig if they hear of something you're right for. In the same vein, if you get wind of a job and you know someone who could be suitable, let them know and they'll be far more likely to return the favor. Contrary to some popular opinion, most actors want to see other actors working.

What should I perform for a musical theater audition?

The specifics of what you should perform in your MT audition will depend on the specific gig, but you will frequently need both a ballad and an uptempo number. When it comes to your audition selections, Backstage Expert and voice teacher Andrew Byrne insists there are five important choices you'll need to make for each song:

Key. The composer of your song selected an original key for the piece that they wrote, but you should ask yourself if the song is in the right key for you. Sheet music is available and transposable online, so if you love the piece but it doesn't feel like it's sitting right in your voice, transposition may be a good option. Many times, even a half-step up or down can make all the difference in the world. Two caveats:

There are some iconic songs where the original key is expected; we use these well-known pieces as an assessment for your vocal skills. For instance, if you sing "The Story Goes On," we expect you to sing it in C major, so we can hear how you handle the ending.

Some composers have very specific ideas about key. They may feel like a song sounds best in a certain range, and they do not want it changed. For myself as a writer, I don't mind at all if someone transposes a piece of mine, but know that others feel differently.

1. Intro. Make sure you have thought through how you will begin your song. Some singers prefer to start their pieces with a bell-tone (a single note or octave that is played to give the singer their starting pitch). The advantage of this is it gives the performer more control over when to start the song. However, sometimes it feels better to have the musical energy established before singing begins, and in those cases, you should craft a brief piano introduction. If it is longer than 5-7 seconds, it should probably be shortened; between two and four bars is usually a good musical length.

2. Tempo. For most musical theater songs, we expect a tempo that is close to the original feel from the cast recording. That being said, some performers do better with a tempo that is slightly slower or faster than the original, and it's worth experimenting with this in your own practice. If you are going to change the tempo, I recommend you create a metronome marking and write it at the top of your sheet music; if you don't know how to do that, your vocal coach can lend a hand. In your audition, you should also tell the accompanist that you will be taking a different tempo than they may be used to.

3. Cut. When you are asked for 16 or 32 bars, this is not an invitation for you to literally count the bars of your song. The people behind the table don't have a score in front of them, and can only assess whether the song feels like the right length. Therefore, I think it is better to time your song; a 16-bar cut should be around 30-45 seconds (one minute is maximum) and a 32-bar cut should be around 1:15-1:30 (two minutes is maximum). The most important thing is that the cut feel right and make good musical sense. That being said, you will occasionally run into audition pianists who will ask you to sing a "strict 16-bars" and may go so far as to count measures, so it is good to know a cut of your song that is actually 16 or 32 bars for those occasions.

4. Playout. Consider whether or not you want to use the whole playout (the last few bars of music) of your piece. Your singing voice should be the last sound that we hear in your song, so if you're worried about sustaining the last note for the entire written length, it's often best to truncate the ending slightly; when doing this, make sure that the accompaniment still resolves harmonically. If you are not sure how to decide this, ask your vocal coach for help.

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What Songs Should Actors NOT Sing at Auditions

You will most likely be asked to perform sides from the production at hand. However, there are many instances in which the team will request a monologue in addition to or in lieu of scenes from the show. For an effective monologue, you'll want to choose a piece that is in keeping with the role you're going out for, of course, but which is also not derivative. Marketing mentor and Backstage Expert Gwyn Gilliss compiled the nine most crucial elements for a great monologue:
1. Select an entertaining one.
No one in the industry wants to watch an actor working really hard to impress them with their "acting" especially if the piece is boring or mediocre. Choose a monologue you love doing so we will love watching you.
2. Find one that "fits you like a glove" so we believe you.
Know your type and range as far as being cast. Make sure the part is age-appropriate and physically accurate. It's agonizing to watch a 25-year-old try to be 45 or a guy from Minnesota try to be an Italian Mafioso from Brooklyn or a plain Jane try to be a femme fatale. A monologue is the time to show who you are, not add layers of dialects, character traits, a limp, or something outrageous to impress. Avoid props unless it is so essential to the scene that it won't work without one. If they can't tell you are acting, that's good acting.
3. Choose one that is serio-comedic-not just comedic or dramatic.
Show us some change in emotion but keep us laughing. Serio-comedic monologues are my favorite choices. Start with a piece that is funny, quirky, and gets people to laugh and then "turn the screw." Hit them with something that's heartbreaking or touching. They're already in your corner and you've won them over! Be compelling to get them involved in liking you, loving you, and hiring you!
4. Work on one that has an "arc" or storyline.
Avoid the "Johnny One-Note" monologues that show one emotion throughout. Boring. Tedious. There is nothing worse than watching someone rant and rave angrily at the audience for four minutes. We all love to hear stories with twists and turns. Bring us along with you.
5. Keep it short.
Every agent I've ever met made up their minds about an actor in less than 10 seconds. After two minutes they change their mind and it goes the other way. Stay within their attention span, and you'll have more success.
6. Find one with an element of surprise.
If the audience is three steps ahead of you, they get bored very fast. Shift gears suddenly and change your mood or voice. Find a way to keep us on the edge of our seats, wondering what will happen next. Everyone loves to be pleasantly surprised.

7. Choose one that is not full of foul language or rude sexual innuendos.

The exception here is unless it is essential to the character, who in spite of the language is funny or quirky. But be careful. Well-written monologues like that are few and far between, and most actors aren't clever enough to pull them off. You run the risk of alienating everyone within earshot, and then looking like a mediocre actor on top of it. Choose good writing over something flashy to impress.
8. Discover one that shows you're a winner.
When you leave the room, what will they think of you? What was your lasting impression? Will they cast you? Call you back or shrug? Most importantly, don't choose to play a loser, someone who whines, or is a victim. Everyone loves to watch feisty characters. They don't like to watch losers. Leave them thinking you are amazingly courageous-a pirate, a rebel, a survivor!
9. Avoid a recognizable one that a movie star did really well.
You'll be compared to that star and you won't win. (Examples include Matt Damon in "Good Will Hunting" or Angelina Jolie in "Girl Interrupted.") Those monologues are done badly with actors who simply lack the personality, not talent, to pull it off. Don't go there. You are not Matt Damon or Angelina Jolie. Find a likeable character and do the monologue your way. Then you'll be a winner!

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What can I expect at a musical theater audition?

Musical theater auditioning is an art and one which you will become more accustomed to the more you do it. At the start of your musical theater endeavors, though, it is normal to feel a bit overwhelmed. Below, we've broken down some of what you can expect and do to prepare:

Dance vs. singing portions: For dance-heavy shows, there may be a dance call, which is separate from the singing and acting portions of the audition process. Here, prospective talent will usually be taught a combination in the room, and then expected to quickly learn and perform it in front of the creative team. If that sounds like your worst nightmare, you are not alone. However, what matters most is an air of confidence, even if your pas de bourrée is performed with shaky feet. Offering his words of wisdom for those actors "that maybe don't consider themselves dancers," Backstage Expert Benton Whitley advises that you focus on the storytelling of the dance more than a flawless technique. Your face, he says, is where the casting team will be focused, more than say on your hands or footwork.

What to bring: As an actor on the go, the art of packing a bag is nothing new. You're probably pretty accustomed to lugging around an audition outfit, a work outfit, a social outfit, your audition materials, makeup, and anything else you can manage to fit in a still-fashionable tote. But when auditioning for a musical theater gig, there are a few supplies you are perhaps less used to including in your bag of tricks, like a reusable razor or plastic bag, for example. For 20 of the essential items which you'll need to pack in your dance bag, go here.

What to wear (clothing and makeup): Dressing for an audition can be challenging, as you want to be comfortable and true to yourself, while also slightly evocative of the character. If possible, do some research for inspiration. "Personal style, comfort, and a hint of character apply," says Backstage Expert and NYC-based audition coach Philip Hernandez. "Research the project. Is it based on a book or film? Were there workshops or regional productions? For callbacks, wear what you wore the first time." As far as makeup is concerned, natural is always better. Even if the role requires a heavy face, the casting team won't appreciate being unable to see what you actually look like under a pound of caked-on foundation. Light and natural makeup is even more necessary for dance auditions, as the element of sweat is involved.

Organizing your book: Your audition binder, or "your book," is one of the rare staples of auditioning that you have complete control over. Furthermore, Backstage Expert Andrew Byrne says that, "If you're a musical theater performer, the preparation of your audition book is a clear way to show a casting panel that you are a pro. Having your sheet music well-organized and polished shows us that you understand the role of the pianist in making your performance successful." For Byrne's Expert insight on what exactly you must include in your bidner, how to organize it, and the mistakes to avoid, see his expansive guide here.

Working with an accompanist: In musical theater auditions, there will usually be an accompanist in the room for the singing portion. This can be daunting, especially if you've never worked with them before. Backstage Expert and casting director Benton Whitley says the most important thing to remember is to be kind, courteous, and clear in communicating what you need just before going into your song. How you handle yourself under pressure says a lot about you as a performer, so you want to work with the accompanist to ensure that your audition is the best it can be.

Related:

What's the Best Way to Work With an Accompanist?

Are musical theater actors taken less seriously?

Some actors may attest to a feeling that musical theater performers are taken somewhat less seriously in the industry than their straight play counterparts. As an aspiring musical theater actor, though, you know that there is just as much nuance and character development required in musical theater performance as all others. So that there's never any room for dispute, acting career coach Brian O'Neil advises you to take these five measures to ensure you and your acting are regarded highly:

1. Check out your résumé. You may be able to reposition your credits so that the emphasis is more on acting than singing. You may need to start to travel with two résumés-one with an emphasis on your singing work and one with an emphasis on your acting work.

2. Get in a good acting class. You should also take a good improvisation class. Make "Improvisation" a category on your resume. It's becoming increasingly necessary for an actor to train in this area.

3. Learn some monologues. Avoid material that only a singer would choose, like say, something from "The Glass Menagerie," which is not a very enlightened choice. If you have an agent, ask them if they'll watch you perform them in the office. Start showing up at EPAs and doing monologues instead of singing!

4. Start attending play readings at the top theaters in town. Many musical theater performers don't even know which theaters these are. Almost all readings are open to the public and almost always free of charge. Start meeting playwrights and directors and other actors at these readings-which is easy to do-instead of staying in the comfort zone with composers and choreographers.

5. Redo your résumé. Open up your credits with "Film" at the top. Don't have any? Find a writer friend and shoot a terrific scene or two with someone. In column one, give it a title. In the middle column put "Lead" (which it is), and the third column put "Independent Short" (which it is). Under the listing, horizontally place the link to the reel so anyone who sees this resume/reel will be introduced to you from the get-go as an actor. Then list your theater credits.

Do I need an agent?

Is it possible to book musical theater work without an agent? Sure it is. Are you going to book a heck of a lot more auditions and subsequent jobs with one? Also a firm yes. "Agents serve many purposes. Just the act of having one validates you to the rest of the industry," explains Backstage's resident expert on all things agent, Secret Agent Man. "It means someone known to the casting community has agreed to endorse your talent by signing you as a client. People will take you much more seriously when you have representation.

"An agent will also be your advocate. People who have to sell themselves don't usually do well. When I was an assistant eager to move up in the world, I didn't send my résumé to every company in town-that would've been a complete waste of time. Instead, I had industry friends make calls for me, which led to my very first job as an agent."

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How do I find an agent?

Based off of the above, right about now you may be entering panic mode as to how in the world you'll actually get that agent. Well, remember how we said Backstage is your go-to resource for all things informational? We weren't kidding. In our exhaustive guide for How to Get an Agent, you will be armed with every tool and piece of knowledge you could need to land representation.

How do I survive and make a living as a musical theater actor?

By now, reader, we hope you trust us to provide you with utmost honesty, which is why we're going to be blunt when it comes to the matter of making a living as a musical theater actor: it will not be easy. Musical theater is highly competitive, and success usually doesn't come quickly. Even MT actors who have "made it," on Broadway or elsewhere often find that their status is ephemeral and can dissipate as quickly as a closing notice is issued. But you love this art form and you'll do what it takes to keep doing it, which is why we've rounded up the tools and resources you can use to subsidize your income while pursuing musical theater:

Regional theater: Regional theater is in no way a mere holdover gig or something to sneeze at. Many musical theater actors perform regionally for years before and after making their way to Broadway. The contracts tend to be on the shorter side which means less long-term stability, but booking a part regionally is very legitimate, particularly at some of the country's bigger venues including Goodspeed Opera House, the La Jolla Playhouse, the Goodman Theatre, and the Milwaukee Repertory Theatre.

Survival jobs: Depending on how long you've been performing, you are probably intimately familiar with the art of survival jobs. You love them, you hate them, you may even have one right now. What is most important to keep in mind with regards to survival jobs is flexibility. Auditions for musical theater gigs can change at the drop of a hat; the dance call could be moved to the morning instead of the evening with a few hours' notice, meaning you need to be able to instantly swap around your whole day as well. You'll only grow resentful if the job that's keeping you afloat ends up preventing you from booking gigs. Check out Backstage's roundup of the 10 Best Survival Jobs for Actors here, and our exhaustive guide to making a living as an actor here.

Voiceover work: While you certainly don't have to be a musical theater actor to book voiveover gigs, MT actors are often more dynamic performers vocally (for obvious reasons) and are therefore frequently sought for voice work. Voicing an animated character, for instance, is a fantastic way to pad both your credits and wallet, and tons of esteemed musical theater actors as well as those starting out do as much. One of Tony nominee Andrew Rannells' first roles was giving voice to a level-headed shark on the animated series "Street Sharks." Tony Award winner and original "Wicked" star Kristin Chenoweth, meanwhile, had a prominent role in the animated feature, "Rio 2." Check out our beginner's guide to voiceover right here.

Year-long contracts: When it comes to job and financial security, a year-long contract is ideal for musical theater actors, but it's also something you have very little control over. Broadway is the foremost provider of such a thing, and even then, the majority of musicals which open in this day and age don't actually run a full year (they are either limited engagements or are forced to shutter due to ticket sales). In an embarrassment of riches scenario where you're weighing two potential gigs, contract length is a factor to which you should give the utmost consideration.

Teaching classes (dance, voice, acting): If you're a performer with any reputable credits to your name, you can probably find a way to marginally profit teaching classes. Not only will you be helping to pass your wisdom and expertise down to a future generation of musical theater performers, but you will also be shocked as to how much you will learn about yourself as a performer as you are dissecting others.

Commercial work: Television, film, and, yes, theater actors have been bringing in some extra bacon with commercial gigs since the dawn of the medium. Like voiceover work, it's a great way to earn some extra cash when you're just starting out, as well as a means of additional income for more established stars. For testimonial, check out Backstage's weekly feature in which we dig up old footage from a now-major star's past, which very often includes a commercial spot or two!

Want to break into voiceover? Check out Backstage's musicals audition listings!

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auditions | casting calls | open casting calls | casting call | open casting call

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Audra McDonald, Patti LuPone, Lin-Manuel Miranda: they're some of the definitive faces of musical theater, but they all started somewhere. Before they were multi-Tony Award winners, they were performers with ambition, just like you. Of course, becoming a musical theater actor is easier said than done, but if performing is what you love to do, there's no reason you, too, can't make it happen for yourself.

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Singing while acting is one of the toughest things a performer can do, as both of them require your full mental attention and practice. Whether you're on stage in a musical or leading a band through your set, how you act and behave while...