This is a fascinating thread. (Complete w/real-talk.)
Could this whole, “you-got-in-but-now-we-see-you-may-not-have-what-it-takes-to-be-a-professional-but-we-admitted-you-so-we-can-either-keep-taking-your-money-or-redirect-you” situation be unintended by-products of:
A.) The proliferation of BFA Musical Theatre programs.
B.) The proliferation of Audition Coaching/Knowledge.
A.) If you have the desire (and money/ability to get a loan) to get a BFA in Musical Theatre, and you are willing to go anywhere, you can get one (even with marginal to low talent.) How can I say such a thing? Cause I personally know many kids I’ve directed over the years who love the theatre experience, (but do not have the minimal-chops to earn a substantial vocal solo in a high school show) get into programs. (Harsh, but true.) And don’t get me started on the acting and dance elements.
B.) The Coaches, audition services, special classes, seminars, books, blogs, (etc.) have the distinct advantage over the schools when it comes to “the system.” They remind me a little bit of the sports-betting commercials I hear on the radio, “This weekend only call for my 100% iron-clad Lock!” The coaches have analyzed and broken down the essential elements of an audition from the school’s perspective. They coach the kids in pushing the right buttons and avoiding the wrong buttons. They even point kids towards specific schools by type and talent level. This is inherently helpful for the actor and not evil, wrong, or even cheating. It’s smart. But…does it take advantage of a system where a limited number of staff from a school wade through hundreds of 5 to 8 minute auditions looking for “potential” and “it-factors?” I would say the skill of auditioning and the skill of performing in a show can be very different. But there is no other system in place. The excellent auditioners have the advantage.
(Let the hate begin…)