Auditioning Tips

General Audition Tips


  • Learn as much as you can about who and what you are auditioning for, and adjust your audition materials appropriately. I can and will help you with this.
  • Be on time. Allow extra time to get there. No one minds if you are early, but it sends the wrong message to be late.
  • Bring everything you think you might or will need, which may include but is not limited to dance gear & shoes, a change of shoes or clothes, extra headshots/resumes, water, a snack, grooming supplies, and a great attitude.
  • Get lots of rest the night before the audition.
  • If you are hungry before the audition, eat something light, and plan a bigger meal later.
  • Always stay as healthy as you can, so you can go to any audition at any time.
  • If you are asked to wait a while before you can go in, don't act bored. Use the time to mentally rehearse your audition and to warm up your voice.


  • Smile.
  • Always be very cooperative and very polite.
  • Never argue with the director, and never hesitate when asked to do something by the director.
  • When your audition is over, say "thank you," swiftly gather your things and exit.
  • Don't let it get you down if you are rejected. Just prepare, go, do your very best, and then go to the next audition.
  • Go to as many auditions as you can; each audition helps prepare you for the next one.
  • Never give up.


  • Try to look well groomed and dress up a little. It shows you really care about this audition.
  • Dress comfortably and appropriately, as you would dress for a job interview.
  • Do NOT wear a costume of any kind.

Resume & Headshot

  • Bring your current headshot and resume.
  • Be sure the information on your resume is true and accurate and up to date.
  • Your headshot should be recent, and should look like you.

Singing Audition Tips

Before you Audition

  • Warm up your voice with lip trills, tongue trills, and then the rest of your warmup. If you need to quietly warm up, use your cocktail straw and do slides.
  • Don't waste time and energy socializing with the other auditionees. Use what short time is available to you to mentally rehearse your lyrics and your audition.

Song Selection

  • If possible, familiarize yourself with the music and book of the show or with the style of the band/ensemble for which you are auditioning, so you will be more prepared for callbacks.
  • Select a song appropriate to the situation. I will help you with this.
  • Know which song you are going to sing before you arrive. Don't change it at the audition.
  • Have at least one ballad and one uptempo song prepared.
  • Choose whichever songs in your repertoire that best show your voice and that you know very well.
  • Usually, it's better NOT to sing a song from the show for which you are auditioning; if they call you back, they will usually have you sing a song from the show.
  • If this is a music industry audition, you may find yourself singing a cappella in an office. It's a good idea to have rehearsed your material a cappella, in case this happens.

The Accompanist

  • The accompanist is crucial to your singing audition. Treat him/her with respect.
  • Never expect the accompanist to transpose.
  • Never expect the accompanist to read from a fake book or chord charts.
  • Never assume the accompanist knows your music already.
  • Don't allow the accompanist to lead you into a new tempo or style. He/she should follow you.
  • At the piano, quietly go through the song with the accompanist before you sing. Softly sing a few bars for him/her; he will gain tempo and style from that.
  • Point out any cuts, or changes that may not be obvious.
  • Be very polite, and always thank the accompanist.

The Audition Performance

  • It's okay to go first; they may remember you better!
  • You may say something before you start, if you wish, such as "my name is..." or "I'll be singing ...", unless you have been specifically instructed not to slate.
  • Never apologize or give an excuse for anything.
  • Fix your focus just slightly above the judges' heads; don't look them right in the eye.
  • Don't wander around; plant your feet and take your time before singing; take a deep breath, then nod and smile at the accompanist as a signal to begin.
  • After you nod to the accompanist, don't look at him again if he makes a mistake. It looks to the auditioners like you're shooting him a dirty look....and he probably is a friend of theirs.


  • While we are using digital music in my studio, the musical theatre world has not graduated to the digital world. Have your paper music in a 3-ring binder which is easily readable.
  • Most musical theatre auditions will ask to hear 16 bars of your song. If you are unclear what that means or not sure what 16 bars to choose, see me.
  • Know what key your song is in, even though you have the music.
  • Know the composer of your song, and the show it is from (if it is from a show).
  • Have a clean copy of the music you are performing with cuts clearly marked for a pianist.
  • Have your repertoire book with you, in case they want to hear something else too.
  • Never have anything in your book you are unprepared to perform.​
  • If there is a page turn in your audition cut, make sure the audition music reads like a book, with 2-sided pages. If possible, eliminate the page turn by having 2 open facing pages.

Reading Audition Tips

  • If you know of the musical/play for which the audition is being held, familiarize yourself with the plot and characters before your audition.
  • Don't waste time and energy socializing with the other auditionees. Use what time you have to rehearse the script.
  • Read simply and be open to suggestions offered by the dialogue.
  • Pick a quality to play that is indicated to you by the action of the scene.
  • If the director asks you to do it again differently, don't hesitate. Say "of course," and then do it again with the director's changes.
  • If they ask you to read for another part, do it with no argument or hesitation.
  • It is okay to ask a question about your character, if you feel it will help you.
  • Don't upstage anyone; be an ensemble player.
  • Remember, the director is looking for people he can work with, who are cooperative, and who take direction well. He is interested in presenting his version of the play, not yours.