Stephanie and I met at Carnegie Mellon Pre-College in 1997.  She was from Oklahoma, and I was from Ohio.  I don’t remember how we met,  I just remember becoming fast and easy friends.  She introduced me to one of my favorite movies of all time, The English Patient by bussing me to downtown Pittsburgh to attend some cinema’s art house series.  Kristen Scott Thomas’ Katherine would influence the type of woman I wanted to be; my role models would be a combination of her, Emma Thompson’s Beatrice and a little bit of Fraulein Maria.  Stephanie, on the other hand, was like Kristen Scott Thomas already, but with a touch of Carrie Bradshaw and just a little bit of Ado Annie.  (It’s possible her being from Oklahoma influences my thinking on the latter.) Stephanie was thin with blonde, curly hair.  And fun.  And funny.   She had, and still has, the most fantastic taste in everything, but it’s layered with an approachable friendliness. If you meet her, you’re going to want to be her friend.  And she will drink you under the table.

I ended up attending Carnegie Mellon, while Stephanie went to Cincinnati Conservatory of Music.  Her CCM class and my CMU class worked together at a lot of the same summer theatres, so we managed for to stay in touch throughout most of college.  We both moved to New York after graduation.  And once there, she and I and our friendship entered an unprecedented period of growth.

“The Meatpacking District,” I remember her telling me.  “That’s where everyone goes.”  It was 2002.  This was Meatpacking before it got overrun with hot mess celebrities,  but after the SATC episode where Samantha threw water on transvestite hookers.  Stephanie and I and a gaggle of other ladies– Annie, Christine, Missy, whoever– would pour into cabs and head to Son Cubano first (usually first), then on to APT or Hotel Gansevoort or Lotus. We were all musical theatre nerds who had been surrounded in our formative years by gay men, and we couldn’t get over the smorgasbord of straight men.  We didn’t know what the rules were.  We didn’t realize we had any power, strength or, most notably, privilege, by virtue of being young and attractive.  Notably, that power was given to us because the patriarchy deemed us “worthy.” We did nothing to earn it.  (Privilege.) However, that blessing was also a curse.  That same privilege kept us from being taken seriously, objectified us to the point of trophyism, assumed we hadn’t struggled, experienced loss, or, frankly, had anything to say.   But we didn’t realize that yet, either.  In short, we assumed everyone we met had good intentions.

We got wise fast.  And there were wild times, to be sure.  When we went out, Things Would Happen.  Maybe it was a certain Midwestern openness.  Maybe it was our Resting Nice Faces.  We still talk about the time the cabbie, just short of 14th and 9th pulled over and turned off the meter.  We all froze, half assuming he was going to kill us.  Instead he turned around and told us about the intimate details of an unusual sexual encounter.  We maintained our resting nice faces and made polite, appropriate responses.  We were actresses, after all.    I could be wrong, but I think he drove us the rest of the way for free.  When I told my husband that story, he assumed he was hitting on us, but if so, it was possibly the worst pick-up line ever.  Then there was the time we lost one of our group two minutes after we walked in, only to look back and find her already making out with a stranger.

But it got old.  Very old.  I wish I could say we found solace in theatre, the one thing we had been passionate about our whole lives.  But if theatre was our first love, it was abusing us more than any dance floor groper or objectifying ex. We were getting chewed up and spit out by the industry: no callbacks, or overwhelmingly close callbacks.  No auditions or really crappy auditions.  The occasional summer gig that shrunk our pockets by the end of the contract.  Bad sublets.  Bad subletters.  Heinous restaurant managers.  Terrible break-ups.

Eventually we found our footing.  Eventually those close calls turned into real jobs. I remember exactly where I was when she told me she booked her first Broadway show: walking past the library on 5th Avenue between 40th and 41st. I felt no jealousy; in fact, I was ecstatic.  We were doing it!  We were making it!

Steph was brilliant in the show.  The dancing was harder than anything she had ever done, so we started going back to ballet class together.  Six months later Stephanie got me an audition for the same show and taught me the audition choreography to boot.  “You think I want some random bitchy dancer in my dressing room?” she said.  “I want to share it with you.”  I didn’t book the gig, but I drilled that ‘ography so hard I remember it to this day. Meanwhile, I was getting my life together.  I had quit the restaurant industry and was working at a dance studio on the Upper East Side.  I was living with my sister.  We had a cat.  I had joined a book club.  I was getting back to my authentic self, and so was Stephanie.  She lived by herself in her own apartment in Queens now.  We were getting serious– or at least more strategic– about the guys we dated.

Then Stephanie, one of the pioneers of online dating, met Michael.  She gave up her place, and they moved into an awesome rental off Gramercy Park.  (I still can’t believe I know somebody who had that address.)  Suddenly, my 2 BR railroad with the slanted floor started to feel shabby.  And my sister wanted to move in with her boyfriend anyway.  “You should live on your own at least once,” Stephanie advised.  I found a cheap studio in a not-particularly-safe section of Harlem.  It was the haven I never realized I always wanted.  I painted the bathroom a girly shade of pink and the rest of it navy blue, while trying to ignore Stanley and Stella fighting upstairs.  Stephanie visited frequently. We were both on Weight Watchers– just about everyone I knew was on WW at that point, even one of my agents.  “If you want to lose weight, Weight Watchers is the only thing that works,” Stephanie told me.  I took her advice, even though I’m not sure she’s ever strayed above a six.  Besides, I hadn’t been booking, and one of the bartenders at my (final) restaurant job told me I was “too fat to be on Broadway,” a comment so mean it still bothers me, but anyway, I lost 20 pounds and booked my first national tour.  Stephanie couldn’t have been more thrilled.

Except she was moving to Chicago.

At every stepping stone in my life, from Pittsburgh to NY, Stephanie had been there for me, usually just a step ahead.  I turned to her for advice.  For her gentle and non-judgmental ear.  To see what was possible.  She has always listened to me blather on, then helped me formulate a concrete, practical plan.  As I write this, I’m not entirely sure what my friendship gave to her.  In my twenties, I wasn’t much good for anyone.

I wasn’t sure what I was going to do without her.

IMG_3860Time moved on.  She and Michael got married.  When I got engaged, she attended my Atlantic City bachelorette party six months pregnant.  When the hotel fire alarm went off  at 6:00 Sunday morning, she swore loudly and trudged down 17 flights of stairs, only to turn around and walk back up.  We laugh about it now– actually, we laughed about it almost immediately.  Steph’s like that.  She’s ride or die.

Stephanie have been friends for 23 years come this summer.  We are both married with kids and moved back to the Midwest.  She’s still the one I turn to for advice about everything. When I go to Chicago, I almost always stay with her, and the one time I didn’t, she gave us a permit to park in front of her Old Town house and a bottle of Bordeaux to boot.  I still wonder what she gets out of my friendship.  But she is always there for me. There’s something about old friends…. months will go by when we will be too busy to talk, then we get on the phone and chat as if no time passed.  I can’t even say I miss her.  It feels like she’s always there.

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Too many of my friends have died young.  Some have exited my life with barely a word and even less of a thought.  I want to take the time to honor the friends who are still here.  This month is a milestone birthday for Stephanie, so I am attempting to tell the story of our friendship. I’m trying to put into words (clumsily) what she and it have meant to me.  These words just scratch the surface.  I hope we have 23 more years of parties and laugher and wine.  Meeting Steph was one of the best things that ever happened to me.

 

Dear Readers and Subscribers:

By pure coincidence, I happen to be listening to an ultra-sad piano version of “Little Fall of Rain” as I write this.

The time has come for me to put The City Audition to bed. Some of you may have noticed that my posts have fallen off in 2018, and as I look towards 2019, I no longer have the capacity to keep it going.
I started this blog as an artistic outlet, as a place to write down the wisdom I’ve accumulated over a lifetime of auditioning in New York City. However, I’m no longer auditioning in New York City. A little over a year ago, after the birth of our second child, my husband and I moved to Muncie, Indiana, to teach at Ball State. I do still audition and perform professionally. But these days my time is divided between teaching, performing, and spending quality time with my family. I find that I no longer need the creative outlet, nor do I have the time to maintain it. In fact, I wish I had time to take in more quality theatre, film and television. (And naps. I wish I had time for those, too.)

I am proud of every blog post I’ve put out on this site. Happy auditioning to all. Break legs, everybody.

Best,

Molly Garner

*not all titles available on Netflix

**you may or may not have someone to “chill” with, but I hope you do!

As the weather turns cooler, why fight the urge to snuggle under a blanket with a bottle of wine and some quality screen time? Problem is, what to watch? Here are my top five original Broadway productions to stream when you’re looking for inspiration or entertainment… hopefully a little of both. This list is by no means exhaustive. Include your favorites in the comments!

  1. Into the Woods: Bernadette Peters, Joanna Gleason, Tom Aldredge

The penultimate OBC viewing. No matter how you feel about Sondheim, Bernadette, or the Meryl Streep film version of this (which is also very good), everyone who’s serious about musical theatre in the City ought to see this to see How It Should Be Done. It’s just so good.

2. Cats

I’m fully aware that in some (most) circles, Cats is a musical theatre punch line. But to get the joke, you have to have seen the musical. You’re not allowed to hate it until you’ve seen it. Frankly, I’m not sure how you could be a musical theatre professional and miss it, since it’s been touring and on Broadway for years. I personally love Cats, but I was raised on it, and plus, I love actual cats. But everyone has an opinion on it, so get on YouTube and come up with yours today.

3. Pippin

If you’re this far on the list, you’ve formed an opinion about Sondheim and Lloyd Webber. It’s time to learn something about Fosse. If you aren’t familiar with his style— and once again, I’m not sure I know a musical theatre performer who isn’t— but if you aren’t, or even if you are, treat yourself to the original 1972 Broadway production that still somehow looks timeless. It’s a feat of showmanship, style and storytelling, and the ending still packs a punch.

4. Passing Strange

Based on the artist Stew’s experiences in Europe in the 1980s, this gem of a piece— “the best musical not to win a Tony,” according to Michael Riedel— was certainly one of the best musicals I saw in 2009. But I didn’t see it at the Belasco. I saw it in a movie theatre in the Village. None other than Spike Lee himself saw this live and decided he must immortalize it on screen. This trepidatious musical showcases the work of Colman Domingo, Rebecca Naomi Jones, and Daniel Breaker, among others. My husband and I became instant, lifelong fans. Riedel reported last year that a revival is in the works, starting at the Wilma Theatre in Philadelphia. Hallelujah.

5. Sweeney Todd

If the only version of Sweeney Todd you’ve seen is the appalling Johnny Depp version, you’re in for a treat. Having studiously attended to this list, you can see that Sondheim is already on here once, but my freshman year at Carnegie Mellon, this Sweeney Todd, starring George Hearn and Angela Lansbury, was required viewing. Everyone should see it. It’s dark, it’s comic, it’s brilliant, it’s moving. This and Passing Strange might be one of the few musicals you can watch with your Muggle friends, if you have any. Plus it’s perfect Halloween-y viewing. Have fun!

Anyone with sense can look at what’s playing on Broadway and see that pop music is here to stay. Catchy riffs and repetitive lyrics have proven to be just as profitable on the boards as on the radio. Yet most formal training programs have been slow to catch up to this development. Most of us are still being taught to sing in the classical style— and we should! Every singer anticipating eight shows a week should understand support and breath control, and musical theatre singers cannot sacrifice diction. But today’s Broadway singer needs to be able to move between pop and traditional Broadway as seamlessly as Jessie Mueller moving from Waitress to Carousel.

But if you’ve got a degree in hand, and you still belt Gaga with full vibrato, what’s a singer to do? Here are some tips on layering traditional musical theatre singing with pop style.

  1. Whine.

    Take this one as far as you can go, then bringing it back. Instead of speaking the lyrics, imagine you’re whining on pitch. Ariana Grande is the master (mistress?) of this.

2. Chew/change the vowels.

Take all those classical Italian vowels and throw them out the window. Very few pop or rock singers have trained that way. Instead turn the vowel into a sound that fits your voice on whatever note you need to sing. Lean on the first (or second) half of a diphthong. Study the vowel substitutions of Alanis Morisette. No one chews a vowel like Alanis.

3. Use the mic…

…instead of resonating. Keep in mind that pop singers expect to use a microphone that is inches, if not centimeters, in front of his or her face. Likewise, the modern musical theatre singer will most likely have a microphone somewhere on your head. Many pop runs simply won’t work at top volume. So lean back, mix, and allow the mic to resonate for you.

4. Get creative with chords.

Put those music theory classes to good use! If you need to find an interesting riff, identify the other notes in the underlying chord, and play from there. You can stay on the note and run it up or down the scale, you can fall off it at the end or scoop into it at the beginning. Try a safe, simple alternative at first. As you train your ear, this will get better with practice. (Disclaimer: riffs, like pirouettes, come easier to some than others.) Check out Natalie Weiss’ excellent riff tutorials on You Tube!

5. Outreach.

If you’re terrible at coming up with pop stylings and riffs, ask your friends who are good at it to help you. If all your friends are equally terrible, look up acoustic covers on You Tube and start stealing. (Don’t feel bad. You Tube is a jungle.) Chances are, you won’t replicate another person’s cover in full, but you will find inspiration. Take baby steps. The goal is to be unique. Interpretation is still key: you must understand what the song is about. Then find the key elements and riff on those. It takes balls, patience and practice. Just like a career in the theatre! Happy auditioning!

Since Green Day songs weren’t written as theatre songs, the storytelling presents a big challenge for this show. Find a pop or rock song that’s a bit esoteric and showcase your ability to find the passion within the imagery. And dress like a badass.

  1. You Oughta Know (Alanis Morisette)

2. Against All Odds (Phil Collins)

3. Move Along (All American Rejects)

4. If You Want Me (Once)

5. I’m Alive (Next to Normal)

6. What About Love (Heart) (Note: “Alone” is another great song, but overdone.)

7. Tear Me Down (Hedwig and the Angry Inch)

8. Just One Yesterday (Fall Out Boy)

9. How to Save a Life (The Fray)

10. The Dark I Know Well (Spring Awakening)

I have zero affiliation with casting director Risa Bramon Garcia and her BGB Studios, but her audition advice was recently forwarded to me, and I couldn’t agree more!  I wish I’d said it first.  (In some cases, I did!  #neverapologize)  I hope you find some things to take away from this.  Click on the photo to access the link.    

It’s the day of the dance callback.  Assuming you’ve read my tips in Prepping for the Dance Call, Part 1, what can you expect on the day in question?  Dance calls are largely a mind game, so don’t freak out.  Stay calm and focused, and follow these tips: 

1.  Breakfast

I think I was 25 years old before I figured out that what I put into my body will affect how it performs throughout the day. Be sure to start your day off right by eating breakfast, and not just a bowl of cereal.  You’ll burn through that on your commute.  Protein coupled with starch will last the longest.  Try an egg white sandwich or a protein-heavy smoothie and a breakfast bar.  Bring snacks if you anticipate a long day.  Complex carbohydrates are your best friend.  

2.  Tell a Story

The choreographer will almost certainly explain the circumstances to you under which the dance takes place.  He or she will tell you that the storytelling is just as important, if not more important, than the dance steps themselves.  If you are like me, you won’t believe this person.  I am the type of dancer who layers the storytelling once I’ve mastered the steps.  Here’s what I’ve learned:  in the hour you have to audition, you may never master the steps, at least not to your standards.  You need to be able to do it well enough, and then bring something to the movement that sets you apart from the others.  They can teach you the movement.  That’s what rehearsal’s for.  What they can’t teach is originality and the ability to bring yourself to the work. 

3.  Don’t sweat the small stuff

So if the goal is to stand out by interpreting the material in a unique way, don’t get tripped up over the smaller elements that may challenge you, such as a rhythm pattern here, a transition there.  The bigger steps and pictures you will need to nail, of course.  The point is, don’t let yourself get flustered if there’s a sequence you’re not quite grasping.  Fudge it, and move forward.  

4.  Ask questions

Then again, if there’s something you’re not getting, chances are, someone else isn’t getting it, either.  If you’re struggling, ask!  Find a specific way to ask your question.  Try to avoid bland phrases like, “Can you go over [x] part?”  It’s much more useful to say something like, “I’m not getting the rhythm pattern on count 8, could we go over it?”  

5.  Get in the front.

One of the simplest questions you can ask is, “Would it be okay to switch lines?”   They will most likely provide this opportunity.  But if it’s not happening soon enough, go ahead and ask.  I learn choreography best in the front.  Some people prefer to linger in the back until they’ve “mastered” it.  Once again, you may never master the choreo to your liking, and the easiest way to get overlooked is to hide in the back.  So try to swallow your fear and spend at least a little time in the front of the room.  You may be surprised to find you pick up faster.  

6.  Watch your face

Okay, so say you do mess up.  Do not let your face reveal this information!  Just keep going.  Keep smiling or glowering or whatever the combo requires!  If I get really overwhelmed by choreography– which happens to me frequently in tap auditions– I will give extra face in an attempt to distract them from my heinous feet.  Make that your mantra.  “Look at my face, don’t look at my feet.”  Once again, provided you don’t totally biff, they can teach you the choreography in rehearsal.  But it’s up to you to fix your face. 

7.  Prepare to improv

The trend in NY is to give a few counts of freestyle somewhere in the combination, usually in the beginning or the end.  Use this as your chance to make simple, appropriate choices that reveal the character within the movement.  If you’re not a dancer, you don’t even have to dance this part.  If you are a dancer, make good choices!  Know that this is not the time to try new tricks.  But it is time for tricks.  If you have a specialty (back tuck, jump split, etc), work it in if it’s appropriate.  If not, keep your choice simple.  They may ask for tricks at the end if they need them.  And in theory, they’re on you’re resume under “special skills.”  

8.  Clap for other dancers

Lastly, always take every opportunity to be a gracious, supportive performer.  The days of the cutthroat, bitchy dancers are (mostly) behind us.  It’s all about positivity and support these days.  So be kind to everyone, and applaud each group after their audition.  Your bad attitude or behavior will stand out worse than if you were to face plant in the middle of a hitch kick.  Be kind.  It costs you nothing.  

A little while ago I had a reader reach out to me about audition songs for Chicago.  I sent her my link to audition songs for Fosse, but thought I could get a little meatier with this show.  It’s one of my favorites.  (Isn’t it one of everyone’s favorites?)  Most of the songs listed here are for the girls- sorry, they’re the obvious stars of the show, and I’m not just talking about Roxie and Velma– but I’ve thrown in a few for male ensemble and Billy Flynn, as well as Mamma Morton, if that’s your type.  Have so much fun with this one.   And look HOT!!

The Women:

1.  Diamonds are a Girl’s Best Friend (Gentlemen Prefer Blondes)

2.  How Lucky Can You Get?  (Funny Lady)

3.  Ring Them Bells (Liza With a Z)

4.  Life of the Party (Wild Party)

5. Broadway Baby (Follies)

Mary Sunshine:

1.  Two Ladies (Cabaret)  Find a cut, though, since it’s a song for three people. 

2.  Wouldn’t It Be Nice (Beach Boys)  I wouldn’t ordinarily recommend a pop song for this show, but this one is golden for showing off falsetto.  

Billy Flynn:

1.  Trouble in River City (Music Man) 

2. There’s a Sucker Born Every Minute (Barnum)

3.  Money Makes the World Go Around (Cabaret)

Amos:

1. Alone in the Universe (Suessical) 

2.  Perspective (She Loves Me)

Mamma Morton:

12.  Where You Are (Kiss of the Spider Woman) 

2.  Grass is Always Greener (Woman of the Year)

You signed up for an ECC, showed up at 9:30, belted Q’s at 10:15, and beat out literally 100 other people to get… a callback. 

To dance. 

I dance well, so I love it when I get called back from a singer call to dance with the “movers.” Even though this sometimes led to another dance call, this time with the true dancers, I always felt that, thanks to years of training, I had a competitive edge. 

However, I know many singer/actors out there for whom the phrase “dance call” sends them into paroxysms of terror. I understand this too because I feel this way when I have to dance first.  It’s not my actual dance ability so much as the fear of the unknown that gets to me.  I am a person who likes to Prepare, and with songs and sides, I can do that.  But how to prepare for a dance call?  Here are my suggestions, which also apply to those for whom dance calls are a breeze. 

1.  Do your research.

If, like me, what you fear is the unknown, see how much you can learn before the audition begins.  Research the show first.  You will be asked to tell a story within the confines of the combination.  Know who the characters are and where the show takes place.  (Example:  cowboys and farm girls, Oklahoma.)  Then learn as much as you can about the creative team, particularly the choreographer.  See if you and he or she have any mutual friends on social media.  If so, send your friend a message asking about their experience.  Some choreographers favor big jumps, for example, or fan kicks.  Some will always do ballet first.  Then see if that choreographer or any of his/her assistants are teaching class in the city.  Which leads to….

2. Take a class.

Ideally, you’re in dance class two to three times a week to keep your #skillz up.  If not, now’s the time to cram.  I definitely pick up combinations better if I’ve been using that part of my brain in class.  You don’t have to do everything in class perfectly.  But you do have to pick up, and you do have to do your best, which is all you can do in the audition anyway.  So practice this.  It’s its own skill.  

3.  Find an outfit.

When I got to NY, I had a full suite of outfits to wear to traditional auditions… but nothing to wear to dance calls.  I mean, I had dance clothes.  But I hadn’t taken the time to put together what looked best on me and what made me stand out in the room. Through trial and error, I figured it out.  Don’t be like me.  Take the time in the days leading up to the audition to figure out what will make you feel comfortable and, yes, sexy.  Hide your flaws and accentuate the positive.  If you need to buy something new to make you feel good about yourself, I’m all for it.  You’ll get your money’s worth when you book the job.

4. Figure out your routine.

What do you need to do to feel prepared the day of?  In an ideal world I will get up, eat a light breakfast, take the barre portion of a ballet class, go home, shower, eat and vocalize (not always in that order), and then start to put on my game face.  I will do hair and basic makeup at home, but finish my eyes at the studio because I’ve learned my makeup might smear on the subway or in humidity.  There isn’t always time for all this.  Sometimes a yoga podcast will fill in for the ballet barre.  Sometimes I have a full morning and have to improvise.  Figure all of this out the night before.  And be sure to get a good night’s sleep!

5. Meditate or find a friend.  

The waiting room at a dance call may be the most intimidating stop on your way to Broadway.  People are dressed skimpily to the nines, extending legs overhead and avoiding eye contact.  I am a well-seasoned, flexible, gorgeous performer myself.  But I have to remind myself of this, mantra-style, whenever I walk into a dance audition to this day.  (“I am an experienced, gorgeous, talented performer, and I’ve got this.”) 

You can do one of two things.  You can find music that you puts you in a good head space, plug your headphones in, and pump up the volume.  (While repeating your own mantra, of course.  Feel free to borrow mine.)  Or you need to find a friend.  Eventually, you will know someone at every audition you attend.  Hopefully you will like this person.  Until then, find another person who looks like a deer in the headlights, or maybe somebody who looks familiar from that ECC.  Plop down next to them and say something like, “I hate dance calls.”  Then see if you can steer the conversation away from the subject entirely.  The point is not to make a friend so much as to kill time distracting yourself from the task at hand.  And if you make a friend in the meantime, great!  

Stay tuned for part two:  keeping your head during the dance call.  

 

Monty

“They Don’t Make Glass Slippers” (Soho Cinders) Maybe a little contemporary, so lean away from that sound.

“It’s a Lovely Day for a Murder” (Higher and Higher by Rodgers and Hart)

Phoebe

“Carried Away” (On the Town)

“The Girl in 14G” (Tesori/Scanlan.  This one is borderline overdone, but let’s face it, it’s so good.)

 

Sibella

The Lusty Month of May (Camelot) An oldie, but a goodie, and completely appropriate.

“Somebody’s Wife” (Over the Threshold)

D’Ysquith Family

“You Won’t Succeed on Broadway”  (Spamalot)

“King Herod’s Song” (Jesus Christ Superstar)

Ensemble:  These songs can be sung by men or women.

“A Little Priest” (Sweeney Todd)

“Bargaining” (Do I Hear a Waltz)

“Poisoning Pigeons in the Park” by Tom Lehrer