<p>Just wondering what everyone will be using for their MT auditions this year!</p>
<p>Hi Luka, welcome, from reading this forum a lot, I doubt that you will get a lot of actual answers to your question here, but I thought I’d give you a heads up that most who are in their audition year will keep their audition choices to themselves :). On Facebook however there are some posts (varies by college) for the MT class of 2011 with song/monologue selections students sang last year which were typically posted once they were accepted.</p>
<p>oh mtgrlsmom! believe me, i go to ccm, not as an mt, but i know! i was just wondering!</p>
<p>Yes, kids work very hard to find just the right audition pieces (monologues and songs) so many are wisely reluctant to post them on a forum for all to see. In fact, I think someone tried to start a thread like this last year, and quickly learned it’s sort of one of those questions that is better off not even asked. ;)</p>
<p>Thats one thing that is sad, that kids think of it as wise to not share your audition choices. I am a professional actor, and make pretty damn good money doing it, and i understand why people dont want to share their choices, but you have chosen your pieces for one reason: you sound amazing on them! people are really missing out by not sharing. every year, the overdone list is new, this is a chance to find out what those might be, rather than walk into the audition room and name your piece to only watch their eyes roll at the title. also, someone might list a song that could be great for you! I have many colleges that I am constantly competing against for jobs, and we always discuss what pieces we are using or thinking about, that way, we dont all walk in with the same thing! It’s so helpful. I’ve been acting/singing/dancing since I was 5, and I always used to think the same thing, and NEVER told people what I was going to use for my audition, but I have learned from many people, and thru much experience, that I was def. way off base.</p>
<p>To tell you the truth my D does not necessarily mind sharing what she sings and or delivers monologue wise, but she typically decides the day of her audition what “feels right for her” then, of course taking into consideration whether she auditions for college (guidelines) or a show (style). Not sure if that makes any kind of sense to you, but I am big on planning things in advance that so that approach always sounds a bit scary to me :).</p>
<p>MTgrlsmom, that’s exactly what I do! Except I’m always super-prepared with monologues because I tend to forget those… but often I’ll pick what song I’m singing literally five minutes before my audition.</p>
<p>ChellyBelly I wish I could do what you do lol! I stress and analyze every single detail of what song and monologue i’m going to do!!! It drives me crazy lol</p>
<p>My daughter received her info from Otterbein about the Audition Guidelines. Maybe I am just tired but I thought the monlogue explanation was so funny.</p>
<p>Here is part of the description…</p>
<p>…it’s best to avoid monologues and actions, which keep us from “seeing” you. Using accents or props, throwing yourself on the floor and screaming, for example, pull our focus away from you and onto the behavior itself. In addition, some word imagery—bodily parts and functions, detailed descriptions of murders, animal abuse—can be very distracting and should be avoided…</p>
<p>And some people are just worried about cursing!! So funny. I am sure some of you who sit in on auditions must have some great stories.</p>
<p>I bet doctorjohn and the adjudicators from other schools could tell some great stories … my particular favorite is the warning against “throwing yourself on the floor and screaming.” Perhaps some young actors think that is very dramatic …:)</p>
<p>Kimoki is right, the guidelines are funny. But they were written based on our actual experiences. The classic one, which happened so long ago that I don’t worry about any embarrassment to the actor, was the young man who finished a song by hitting himself in the face with a cream pie. Some of it splashed onto the piano (!) which didn’t make the Music Department very happy, as you can imagine. It’s one of the reasons we moved the piano to the side of the stage for auditions… 
</p>
<p>That story has a happy ending by the way. Although the actor was not accepted that year, he auditioned again two years later and we took him. He graduated and has had a good career.</p>
<p>But the story has another point. Many young actors don’t have the benefit of good training or even the chance to witness good theatre. So their conception of great acting is, as NMR suggests, “being dramatic”, something which can take many forms, from yelling to choosing “shocking” material to using strange props. We wrote the guidelines to help the ones who haven’t had much help along the way avoid obvious mistakes.</p>
<p>Let me also emphasize the positive here: the point in an audition is to let us see you, a human being going through an experience, sharing it with us. As you rehearse and choose clothing and shoes, remember that principle, remove distractions, and simplify your choices.</p>
<p>Hope this helps.</p>
<p>Dr. John, Otterbein’s letter was the most detailed out of all the info we received from our 8 schools. Good for you! My daughter’s coach told her a story where a student at one point lifted her dress and didn’t have anything on underneath. I guess she was suppose to be mooning someone. Funny now but not at the time. I don’t think she got in??</p>
<p>I forget what audition my daughter was at, but at the information session in the beginning fo the day, a lady pointed out to please refrain from asking to karaoke to Britney Spears and/or wear a wig a la Barbra Streisand when singing Memories, and refrain from launching a chair across the room (during a monologue). All this seemed rather common sense to us, but when we later asked her if she was merely putting the auditioners at ease with these funny stories, she said that they actually had this happen. Oh boy…</p>
<p>Funny (sorta!) stories. This points out an observation I want to make. We all know that BFA admissions are highly competitive with very low admit rates. There are way more talented and qualified candidates than slots available at any ONE particular school (though someone who is qualified should be able to get into at least one program). But you have to realize that amongst the applicant pool are candidates who are not competitive for admissions to these programs. We get a false sense on CC in a way. The families on CC are ones who have explored this process a bunch and are more informed. The CC families, however, are not typical of the entire applicant pool. There are lots who are applying who don’t know very much about the process. There are lots who are applying who have very little experience or training who simply like MT. So, while a program may accept 5% of the candidates, not all 100% of them are contenders in the first place. That should actually alleviate some stress over the astounding low admit rates. This is even true outside of MT admissions at elite schools like Ivies. Sure, there are way more candidates applying to Ivies that are truly highly qualified than will be able to be accepted. But there are some in the applicant pool who really are not appropriate applicants and not qualified or realistic in their choices of where to apply. We all discuss this process here on CC and it is evident that those who join the discussion are arming themselves with information and so forth and so I am pointing out that the typical person on CC is not indicative of all the candidates (or their parents) out there who will also be applying. If you are an appropriate candidate (qualified both academically and artistically) and know enough about the how the process works, your odds of getting into A BFA (not any one particular one) are likely better than 5% even if 5% is the actual admit rate. </p>
<p>I am confident that no CCers are asking to karaoke to Britney Spears! :D</p>
<p>Susan makes an excellent point. It reminds me of a girl who was auditioning in the same timeblock as my D many moons ago at Tisch. I remember her mom telling me that her D had decided in September (this was at E.D. auditions in early Nov.) that she wanted to major in theatre in college. She had never done ANY theatre but because a friend of hers had convinced her to audition for the h/s play that year, and because she was cast as a member of a very large ensemble in The Sound of Music, she decided that this was what she wanted to do with her life. Her mom then proceeded to tell us that she always knew how talented her D was and that she’d encouraged her to apply E.D. to Tisch. No other schools had even been identified, let alone applications prepared or auditions booked. She told a room full of moms that she was confident that her D would be accepted by Tisch, and if by some strange stroke of luck she wasn’t, well, they’d choose a couple and apply in January. It was crystal clear that this child and her mom had done zero research, including of Tisch, as she did a classical dramatic monologue for her audition, when Tisch specifies that both monologues be contemporary. I think that similar thoughts were coursing through the brains of every other parent in that room, all of whom, through conversation that day, were very prepared in every way, much like the kids and parents here on CC.</p>
<p>Although, this was the only situation that we experienced of a totally unprepared and unrealistic auditionee, it was the only college audition my D did, but I’m confident that it is not an uncommon experience judging from the stories we’ve heard through the years. Undoubtedly, it is still happening. We probably all have heard of kids who right now are just starting to explore different options of where they might apply, who not only are not yet mastering their audition material, but they don’t even have their list of schools determined. I think that they would be surprised to read about most CC kids who have already started auditioning, some already have acceptances in hand, have chosen and learned monologues and songs in conjunction with their coaches, have made their plane and hotel reservations for auditions, etc. </p>
<p>I’m not trying to downplay how competitive this process is, it’s very competitive, and even the most talented applicants will not get into every program for which they audition, but if the list of schools is appropriate (and all that that entails, both academically and artistically), if the student is well-trained and well-prepared, the chances of them gaining admission to at least one program are good, not definite, but good. The talent pool will vary to some degree depending on the school, something which has been related to me from people on both sides of the table over the years. This is another reason that attempting to know ‘where you stand’, self-assessing against the competition, in general, can be helpful in the process of determining which schools are on your list.</p>
<p>AlwaysAMom, I totally agree with all that you wrote. A well qualified (artistically and academically) and well informed candidate who has an APPROPRIATE list of schools should get in somewhere. I agree that there are candidates out there who have inappropriate lists of schools and/or are not well informed about the process and/or do not have the requisite skills or qualifications in these BFA applicant pools. </p>
<p>In terms of the time frame…I have clients who have already done 10 applications, a couple of auditions, and one already admitted to a program (a program that informs as they go along). I have a senior who is JUST starting the entire process as well (I did their college search and selection just a few weeks ago and the start of the applications is just this week!). Then, there are many in between these extremes. </p>
<p>I also agree that the talent pool varies among certain schools. Having a realistic list of colleges is one of the most important aspects of this process and I can’t tell you how many folks do NOT do this. I’ll have people come to me with college lists of the programs they have heard of when they are not realistic candidates at those programs. The right list is very important. With the right list, a student should not be closed out of going to college. While the BFA admissions process is daunting, as well as other very selective admissions process, if you are an appropriate candidate, you should be getting in somewhere but just can’t predict which schools will take you. Both of my own children went through very competitive college admissions processes and it was an anxious time knowing the very low odds at each school but we knew they were appropriate candidates for the schools on their list and didn’t expect all of the schools to come through but felt that at least one would (and actually most of their schools came through which was a lucky result). I didn’t truly think they’d have NO school to attend. I know schools would turn them down due to the low admit rates that make it so, but I felt pretty confident they’d get in some place as they were qualified for the schools on their list. Right now, I have a D going through a highly competitive graduate admissions process with very low admit rates at every school on her list and with a huge subjective component that counts for most of it (very similar to BFA admissions!) and that is a portfolio. Yes, I do worry given the odds, but I have to remind myself of the point I just made in this post…she is an appropriate candidate and at least one school should come through (I hope!). Like with a BFA process, there are likely some in the applicant pool in her process who don’t really belong in the pool but have heard of these elite “name” programs and so apply to them. Like I said, I see this in my line of work…those who form a college list of name schools but where the list is not appropriate to their qualifications. Then again, there are plenty of very talented and qualified candidates, which is what still makes it a very anxious process. </p>
<p>I also see some on CC who form lists of MT programs simply because the schools offer a BFA in MT. That is not the main way to pick a college. It is but one factor. The fit is crucial. The qualifications have to match up as well. It is not enough to say, 'which schools offer MT?" and then “which are well known?” and then that’s the list. But I see this ALL the time. </p>
<p>We do get a false sense of the applicant pool on CC because most who are here are ones who ARE doing the research and thus going about things appropriately. It’s the ones who are ill informed that are also out there. Like the example you gave, applying to just ONE school for a BFA is so unrealistic, but I have seen such stories before, unfortunately. </p>
<p>Also, people need to self evaluate their artistic skill sets and get feedback from those in the field as to their competitiveness. Even on paper, sometimes I can tell someone is not competitive artistically. Often, if someone can’t rise to the top in a very small setting like their own school, have very little training or achievements, how they can compete with the tons of students out there who have achieved locally, in their state or even nationally is something to think about. The national pool is very very big. The top kids from every school and community will be in that pool. If you merely like MT and have been in a show at school in the chorus and have little training, you likely are not going to be competitive with those who have some training in singing/acting/dancing, some stage experience, some succcess in local casting, some achievements, and also the requisite academic achievements. Or I also see some who have ONE skill…such as singing, but they are competing against those who have skills in singing, acting and dance. You don’t have to be a triple threat (though there are plenty of triple threats in the pool), but you should be strong in two skill areas and have potential in a third even if less talented or skilled in the third. To be only skilled in one area will be tough. </p>
<p>And then there is the knowledge one must have about the admissions and audition process by arming themselves with information, as many CCers DO! The example you gave of a student who did a classical monologue for Tisch is a great example of not arming oneself with the exploration and information gathering so important in this process. </p>
<p>Like you say, some are either (or both) unprepared/uninformed and/or unrealistic with their college list. Thus, while a school may accept 5%, but if you are a realistic candidate for that school, your odds are likely better than 5% there and at least a bunch better that you will be admitted to at least ONE program. </p>
<p>The right list is crucial. The self assessment and feedback from others who can evaluate your artistic and academic qualifications is also very important in the admissions process. I know when my own kid applied, she self assessed against others she knew who had gotten into BFA programs, had some experiences with talented kids from around the country beyond our local realm and could see how she fared in such a talent pool, and we also looked at benchmarks along the way that she had achieved that give SOME indication that she could compete in a strong talent pool. This is important to do.</p>
<p>
One of the Deans at NYU told us just the opposite at a performing arts open house. We were told that it is the applicant’s potential, not his or her laundry list of shows & experience, that they are looking for when judging takes place. Academic standards at NYU, of course, are a biggie. Perhaps other schools see it very differently.</p>
<p>You are right that Talent and Potential are far more important than CREDITS on a resume. </p>
<p>However, first of all, in order to have some potential, it really helps to have singing, acting, and dance training. Some may have more than others and that is perfectly fine. Some training helps. That’s how skills develop. Also, stage experiences help. Doing theater builds your experience in this field. It is not important to have CREDITS but it is more what you learn through those experiences themselves. Having no experience often means you haven’t learned that much yet. Someone can be very talented and have lots of potential who has no experience, no training, no roles, and no awards/achievements…totally totally agree. However, when I see certain benchmarks, it is ONE indicator that a person is an appropriate candidate. One can be admitted WITHOUT those benchmarks!!! But often I can tell a bit who might be in the running or it is easier to tell when a person has certain achievements already in a talented pool…Again, you don’t HAVE to have those but if you do, it is an indicator. The kids who had certain benchmarks DID fare well in this process. But others do as well. I want to be clear about that. But there are some with very very little experience. Perhaps they were in the chorus in a school show and took some voice lessons and took Choir. They may be very talented. But often there is some correlation when someone achieves in their small pool back home and can compete in larger talent pool. I also see some correlation with kids who are better students academically who are able to do well in a BFA program with a certain work ethic and ability with time management. </p>
<p>While someone CAN get into a BFA with very little training, very little theater experience, and weak academics, the CHANCES are GREATER for those who have some background and achievements/benchmarks. It is not all or nothing. </p>
<p>I do have a kid at Tisch. Most of her peers had extensive backgrounds before they got there. Some went to performing arts high schools (she did not). Many went to summer programs. All had training. All had had lead roles in their local areas. Many had significant achievements locally, in their state, or nationally. Did all? NO! The chances were greater for those who had some background, training, some shows, some achievements, good academics, etc. That’s all. </p>
<p>My own kid went to a summer theater program with kids from around the country (and beyond) and I can tell you that the standout kids there are the ones I know who got into BFA programs. It stands to reason that those who fared well in that talented pool are the ones who might fare well in a BFA talent pool. </p>
<p>Kids I know who won a NFAA award, a state voice or thespian award, etc. also fared well in BFA admissions. Do you HAVE to have those achievements? Definitely NOT! But if you do, you have some benchmarks to know if you are competitive. Do you have to be cast as leads back home or in a summer program in order to get into a BFA? No, of course not. But if you are time and time again cast in ensemble even in your hometown area, your chances in a greater talent pool where there are kids who have played leads back home are simply not as great.</p>
<p>Remember, the applicant pool includes top talented kids from every locale. Many are very qualified to get into a BFA. Then there are kids who have less training, less background, etc. in the pool. Some of those will also get in. But they will be competing with those who have developed some skill sets or simply even audition experience itself, and so it stands to reason that some have a greater chance than others. It is not like the top kids from every community get in and the others do not. It is simply that those with more qualifications (NOT on paper itself) have a greater CHANCE than those with less qualifications. The resume itself doesn’t matter. But it is the experiences themselves that prepare you. Someone with no experience or achievement may not fare as well in an audition than someone more experienced who has been working on it. It isn’t like their resume itself gets them in, but what they did along the way to be more prepared and skilled.</p>
<p>I’ll just add a little blurb about my roommate. I decided to go into Musical Theatre my freshmen year of college (was originally a Film student), and it turned out my roommate had auditioned at our current school, but didn’t get in. When asking him what songs he chose, he said:</p>
<p>“Well, I did one song from Wicked, and another accapella to a Boys 2 Men song”</p>
<p>When my eyes widened, he asked me to explain why I was shocked. But… I just couldn’t.</p>
<p>That there REALLY helped me clarify that the pool, while very talented, has some serious beginners learning to swim. Needless to say it helped me breathe a little easier.</p>
<p>I agree with the posters above regarding the need to match one’s artistic level of ability to the school’s artistic level of competitiveness.</p>
<p>As soozievt encourages, both parents and students require multiple paths of feedback over time from professionals, teachers, coaches and directors to our student’s ability level in voice, acting and for some programs for dance.
Choice of programs on our kid’s list should reflect that honest feedback. Parents and kids who are unrealistic about where the student fits may be in line for disappointment.</p>
<p>Parallel to the artistic appropriateness is the question of academic appropriateness of applications to MT programs where there are strong academic requirements which must be met.
We recently attended the drama info session at NYU with a drama admissions rep. He related that they receive 2000-2200 apps/auditions for the full drama program(all studios combined), and that 800-1000 of those are for CAP 21 as first or only studio request.
Many of these students do not meet the academic requisites for NYU and therefore would be rejected. These students audition anyway and essentially clog up the process for the kids who meet the requirements and have done their research regarding these issues.</p>
<p>I’m starting to wonder if there isn’t an “american idol” phenomenon that occurs with this MT audition process. It’s striking that some students participate in both the artistic and academic review process when they are not appropriate in one or both areas.</p>
<p>How appreciative we are on my d’s process that we read CC, learning how to proceed.</p>