<p>Can anyone offer advice on how to determine the quality of a particular college’s/university’s MT program? Is there any way to determine the quality of the classes, faculty and overall strength of the program when the school is not one of the “top 10” ? I have been comparing curriculums and looking at alumni lists. Any other ideas or words of wisdoms?</p>
<p>Other than reputation, visiting and auditing classes is all I can suggest. Maybe, see a show and watch with a critical eye. Good luck!</p>
<p>I would definitely try to sit in on classes, talk to current students, meet the faculty and see a production. Check out the faculty bios to see their training and experience. Ask about master classes and guest artists. And if you have any special interests - like study abroad - check into those as well. And of course ask the nice folks here on CC what they know about the specific school. Best of luck!</p>
<p>I would say speaking with current students would be one way to answer your questions. The campus visits help, and I agree with Flossy that seeing a show is very telling.</p>
<p>I don’t think seeing a show is indicative of much in and of itself. Are you seeing a “mainstage” show or a third tier student run black box production? It’s great that they offer so many productions that there is a third tier but you certainly would not expect the same kind of production. I personally like the student black box shows because they are often more experimental which is great for a student and also has student involvement in all aspects of the show.</p>
<p>Sitting in on a class or two is very informative, speaking to professors and department heads and current students, etc. But the key thing is how their philosophy and yours match is most important. What works for one student doesn’t necessarily work for another. </p>
<p>If you can’t visit the campus phone calls to administration and professors are a good first step and then ask if you can contact a student or two. Facebook pages might also be helpful if you can’t visit.</p>
<p>If the schools of interest have sub-forums here on the CC MT site, send private messages to students and parents of students at the schools who post on those forums. I found parents and students to be very open and candid about their likes and dislikes as well as about generally sharing info about the programs.</p>
<p>I debated about whether or not to respond to this… I know our experiences are limited, but there is a school not far from us… we saw two mainstage shows that were very good. I did notice that the leads and secondary leads were mainly the same kids. Some I heard had been in the past shows as well. Later, kids informed us that the director favored those same kids in his classes. In concerts we attended the music department highlighted different kids all the time, including some of the above mentioned leads, but the MT department didn’t. It just stuck with the ‘favorites’. The other kids felt they were not growing as they should. Many left. I felt that was an example of a show not being a true indicator of what was going on. Kids would not have told a visitor their feelings, only an insider, or already known person. Does this make sense?</p>
<p>Good point snoggie. I suspect this practice occurs at a number of schools and is a good question to ask of current students at any program. It is very hard to determine the quality of programs in part because the criteria will vary from person to person depending on what each is looking for. I would make up a list of questions and then try to answer those questions for each program. You might include basic things such as size of program, size of school, rules regarding when students can or are required to audition, how many shows they do each year and what type (mainstage, graduate, etc.), are voice lessons included and can they switch teachers, how much dance, acting and voice they get, as well as more specific questions depending on what you are looking for. A lot of those questions are on the websites, but you may have to post some here, or call the department directly for others. CC is a great resource as MichaelnKat suggested and I think you might have your best luck doing as suggested- asking current students and parents. It can be a daunting process no doubt. Don’t exclude schools because of cost as many offer significant financial incentives. You also might try to narrow it down by area of the country if that is important to you. Good luck!</p>
<p>I do think seeing a show and a senior showcase is very informative. It did make a difference in our case. Its not uncommon to see the same students casted over and over again. That said, the more performance opportunities there are, the better. You will find that in the most competitive programs, there are not guarantees in regards to casting.</p>
<p>Asking specific questions is important. In general a current student (or parent) may say they like the program a lot but if you ask specific questions you may get information that to you is very meaningful and relevant. For example, my daughter was accepted to a school that has an excellent reputation. When speaking in PM’s to current students on CC, I asked questions about the voice component of the program and was informed by 3 different students that voice was through the Music Department, VP majors were given preference and priority in choosing teachers and scheduling and as a result, MT students often got less desirable teachers or schedules that were tough to blend with other program requirements. At another school, students told us that the voice program was specific to the MT students. Both schools have excellent reputations but the difference in how voice was treated was very important to my daughter.</p>
<p>Thank you all for your insight. I don’t know how my daughter (or I) would have gotten through the insanity of auditioning without this informative message board. MichaelNKat and takeitallin, great ideas! I think we’ll come up with list of questions/concerns and try the PM route. Snoogie, thanks for your response. I hadn’t even thought about the possibility of favoring students, and the negative impact it would have on the non-favored students’ training. It will definitely be on my question list. It’s a bit overwhelming trying to make such an important decision with so little information other than website information and word of mouth. Keep this suggestions coming :)</p>
<p>nydramamama… I totally agree about senior showcases… I think that is very different!</p>
<p>dianemtmom-I’m with you it is all a bit overwhelming and I’m just at the begining of the process. I know that my D and I should ask lots of questions but when you are just starting out and no one I know has really gone the musical theatre route before us it’s hard to come up with a list of the questions. There are obviously basics but sometimes I guess you don’t think of them until you see something that makes you think of it. Good Luck to you!</p>
<p>You might want to check out the wonderful MichaelNKat’s info here. Post #8 discusses questions to ask:
<a href=“http://talk.collegeconfidential.com/musical-theater-major/477658-preparing-apply-information-h-s-juniors-seniors.html[/url]”>http://talk.collegeconfidential.com/musical-theater-major/477658-preparing-apply-information-h-s-juniors-seniors.html</a></p>
<p>My spouse and daughter researched 7 schools that met my daughter’s requirement of being within a 2-hour drive of home. The Midwest is chock-full of excellent academic colleges, public and private, so that made the search easier.</p>
<p>We asked the following:</p>
<ol>
<li><p>How many musicals do you perform each academic year? This question knocked out one-half of the schools. Musicals are expensive, labor-intensive and exhausting. Only the highest quality programs do 3 or more a year. </p></li>
<li><p>How many guest directors/artists/performers/etc. do you have on campus each year? Who was here this year? Many highly acclaimed national and international professional actors, directors, playwrights, choreographers, scenic and lighting designers collaborate annually at top-quality programs. The artists also teach master classes so that every student has the opportunity to learn from them. These also provide students with opportunities for internships or full time employment by working with the guest artists while they were in residence.</p></li>
<li><p>What is the budget for your performance space(s). Only the top quality programs can answer this question, and it provides an excellent look into how business-like the operation is run. Also, if the performance space is not reflective of current technology, then it is not a quality program.</p></li>
<li><p>How do you interface with the other fine arts programs on campus? Avoid schools that show obvious turf battles and in-fighting. That isn’t quality!</p></li>
<li><p>Do you allow students who major in other areas to audition? Only the top programs will allow this. Schools that smugly say “no” are preparing students for a big surprise when they graduate into the competitive world, and are creating a theatre program that is so inclusive that quality will be lost.</p></li>
<li><p>What international program experience is provided? It is unrealistic to think that a MT graduate will perform only or mainly in the United States. Global opportunities for MT students is expanding as need for Broadway shows develops in the growing worldwide middle class. Senior year oppertunities for performance in other countries is a sign of quality, as well as semester-abroad opportunities.</p></li>
<li><p>Do you offer a BFA degree? Simple yes or no. If the school does not have the commitment to provide a well-rounded BFA degree, then it isn’t a quality program. That’s not to say that your student can’t get a quality education there… just not a quality MT experience.</p></li>
<li><p>Do you follow equity rules for auditions and performance. Quality programs will do so. This ensures that your students are treated as professionals, and requires the professional staff to perform at the highest quality levels, in such terms as amount of time spent in auditions.</p></li>
<li><p>How do you ensure that the MT students get involved in activities outside of the theatre? We all know how our MT sutdents live in their own world of reality. Quality programs make certain that they are forced to deal with the real world, both socially and academically.</p></li>
<li><p>How do you decide who gets in the program? Like all quality businesses, the decision comes down to one simple question: will your student fit in with us. It’s the same way large corporations make hiring decisions. I can’t see Warren Buffett fitting in at Apple, nor can I see Steve Jobs fitting in at Chase. Both are brilliant businessmen, and both are excellent companies. But from a quality perspective, their employment by those corporations would hurt quality because they wouldn’t fit in. Similarly, if the talent, background, attitude, aspirations and personality of your student isn’t a fit, then the quality of the MT program will suffer. And, neither you nor your child will be happy. or a particular program, it’s more than whether your child can sing, act and dance … quality also requires recognition that your child must “fit” with the program, and the program must “fit” with your child.</p></li>
</ol>
<p>I have to take issue with several of your points, especially #7. An excellent BA MT program can be better than some BFA programs. Case in point: Northwestern: QUALITY MT certificate, excellent quality education, excellent post-graduate record in the field with performers, directors, writers, composers to name a few. One of many fine BA programs better than some of the “presumed” top BFA programs. FYI I do not even have a child that goes or went there. Just making a point This is not that cut and dry. Your guidelines bring up some valid points but are black and white in a gray field IMHO.</p>
<p>A lot of your questions are very specific to what your daughter is looking for. Especially the idea that the only quality MT training comes from BFAs. That’s an ignorant statement. For many students, a BA might be better than a BFA. What about Northwestern? And UCLA’s BA MT program is very prestigious and offers the students that chance to have a real educational experience. For many students, such as myself, this is an extremely important aspect of any college program. After all, an uninformed actor, no matter how talented, will not be able to give a good performance. Try to put on Les Miserables without knowing a thing about France! UCLA’s BA also has a specialization in MT, allowing the students to have high quality performance training. It’s a common misconception that all schools with BFA MT programs are better than schools with BAs or even that all BFAs are better than BAs. It all depends on the school itself, their specific program, and the student’s desires in a program. </p>
<p>The most important thing in determining the quality of a MT program is determining what you, as the student, are looking for. We’re all looking for different things, so we can’t tell you what is the best MT program for you, OP. I suggest that you make a list of your desires and not-negotiable requirements for a school and then find schools that fit those. Find out what is more important: Do you want an immersion in MT in a conservatory? Would you be willing to sacrifice that immersion to attend a university like NYU or UofM that has a very good MT program but still has an emphasis on education? Once you have your list, you’ll be able to figure everything else out.</p>
<p>I have to agree with the BA/BFA thing. I know I’ve told this story before but I think it bears repeating. When my son was a senior in HS he was invited (along with everyone else) to attend a day long seminar hosted by a local professional theater. It was conducted by a casting director for Disney. At the end of the day parents were invited to attend a Q&A given by said director. Most of the parent’s questions were about college choices, auditions, how to prepare, etc. One thing that stood out, that he repeated several times in several ways was that as an actor you have to have real life experience and be well rounded so that you would have to bring something to the table. He said that in his experience that actors who only live live and breath MT aren’t as good or as interesting as those who live in the real world. He highly recommended a BA verses a BFA. Not to say that a BFA is bad or wrong, not at all. Just when doing your college search keep you mind open to either a BFA or a BA. Personally after considering things like size of school, location, cost and general fit I would look at the overall success of it’s graduates to help narrow things down.</p>
<p>In the end its all about talent, hard work/work ethic, connections/getting yourself out there and a HUGE amount of good luck. In reality the VAST majority of students in BFA, BA or BM programs will never see a professional stage.</p>
<p>There is a book, I can’t remember the name of it, that is a collection of interviews with Broadway people. They tell it like it is. What struck me is just how many of them who had had success, Toni’s etc. couldn’t get hired. It’s really a terrible business. No wonder they say for every light bulb on Broadway there’s a broken heart.</p>
<p>I must agree with the last posters about point #7. And I think #5 is another one that deserves some discussion.</p>
<p>“Do you allow students who major in other areas to audition?” It’s an interesting question, and I’ve never done a study of how many BFA programs actually allow non-majors to audition. Frankly, though I would have to question the quality of a BFA program in which a non-major could easily snag a large role, even if they were allowed to audition. BFA students are being intensively trained to be professional performers, and theoretically should be much more prepared for auditions than other students. Allowing non-majors to audition would probably not increase the competitiveness of the process, and in many cases might actually diminish it.</p>
<p>In my job as a vocal/acting coach (and as the mom of a recently-graduated BFA MT student) I have done my research, and have seen many BFA productions at top colleges. Only a few have had non-BFA students in the cast. I think whether or not non-majors are allowed to audition is a non-issue when considering the quality of the program.</p>
<p>The book srw refers to is called Making It On Broadway, and it’s a must-read for students who want to pursue this and parents of those students.</p>