Machine generated contents note: SECTION I Song Selection 1.Introduction to Song Selection and Historical Context: What You Should Know (and Why You Should Care) Introduction The minstrel show, the saloon revue, and the first "musical" The variety show and vaudeville in America Tin Pan Alley and Irving Berlin George Gershwin, the revue, and cultural crossovers The musical comedy in the 1920s and 1930s The "fully integrated" musical Musical theatre in the 1950s Musical theatre in the 1960s The 1970s: The doldrums ... and then that happened The 1980s the wave of the mega-musical and the 1990s 2000 onward 2.Song Selection for Singing Actors Part I: What to Sing and Where to Find It the Philosophical 3.Song Selection for Singing Actors Part II: The Song Is You the Practical The feeling's the thing Forger "type": Sing who you are
Note continued: What are the styles of songs that you need to prepare and include in your repertoire "book," how many, and why? Belt and legit Beyond belt and legit: Understanding and performing the diverse song and vocal styles used in modern musical theatre Mutual plausibility between you and the song: Getting closer than "one-and-the other" Does the song cut well? Musical key consistency within the proposed cut Playing the song out of context Choosing songs with, and understanding, a playable "arc" (and "cutting" them accordingly) Often-heard and iconic songs A subjective, arguable "Top 25" often-heard list (and runners-up) Delivering the goods Choosing (and performing) pop and rock songs SECTION II Song Preparation 4.Introduction to Song Preparation Table Work I Ascertaining (and understanding) objective information Table Work II Why sing it and not just speak it?
Note continued: Table Work III Theatre song "brands" and traits that inform style and lead to playability 5.Off the Table and Off the Page: Techniques for Payability Speaker receiver interaction and relationship Interior monologue in song The lines under the lines (subtext in song) Music as subtext Objectives: What's the problem? (the want is always stronger) Tactics: How do I solve the problem? Charting it out: Hitting objectives and tactical points and identifying obstacles Song worksheet Methods and modes of song delivery 6.A Music and Musical Theatre Term Lexicon 7.Coaching Songs Through "Much More" (From The Fantasticks) "Separate Ways" (Worlds Apart) (Words and music by Steve Perry and Jonathan Cain) "Another Night at Darryl's" (From The Witches of Eastwick) "Perfect" (From Edges) "Maria" (From West Side Story) SECTION III Song Presentation 8.Your Turn at Bat, Sir Introduction
Note continued: Who am I anyway (in the show)?
A first-date guide to dressing for auditions and song presentations
Dressing (up) for the part?
So many choices with so little time
9.Musical Theatre Song and Collaboration
Setting yourself up for success in spontaneous collaboration
10.How They See Us: Body Language Onstage and Media Online
Now that I'm here, what do I do with my hands (and feet, and hips, and legs, and...)?
See and be seen on Facebook, YouTube, and everything else
If I had a dollar, euro, or pound for every coulda, shoulda, and woulda
