Auditioning for Sweeney Todd

I have mentioned in my other thread that I love the musical of Sweeney Todd, and its a bit intimidating to audition for. I want to perform as a very important faux-Italian, often overlooked beyond his death.

To play the part,

it take-a da skill

it take-a da brains

it take-a da will

to take-a da pains,

So how should I start

To get-a da part!

What material should I use to audition? Luckily my vocal range is very open.

(Pirelli has a tricky part)

Maestro

One of the big rules about auditioning for a musical is never sing something from the musical.

I believe the general consensus behind this is that if the director has a certain "sound" or style he wants to imprint on the show, singing something from the show can trigger the "that's not how I want it to sound" reflex, and you poison your chance to be cast. Most actors I know that sing say that this 'rule' is repeatedly pounded into them by their teachers.

I know I shouldn't sing the Contest, not yet at least! ;)

I just don't know what I should sing.

Should I sing something Italian with that classic triplet rhythm?

What should I sing to showcase my ability to sing Pirelli's part?

Should I sing something that has a lot of leaps like in the " to shave-a da face" parts?

I know I shouldn't sing Pirelli. My question is what should I sing ?

Maestro

Something you CAN sing. As important as it is to showcase yor ability, it is more important that you don't screw it up. lol. Do something you know and are comfortable with. This doesn't mean it has to be easy. I don't know enough pieces to suggest any, but I shouldn't need to; you are the only one that knows what you can see well.

I've heard that it sometimes helps if you sing a selection by the composer but from a different musical.

Are there any Sondheim pieces that would set me apart from the rest? I have several months before the actual audition, but I have to prepare.

Thanks for the help thus far, but I still need more.

well,it depends on at what level you are auditioning for:high school,college,professional. Because I know that Sacha Baron Cohen sang the entire score of Fiddler on the Roof for his audition

well,it depends on at what level you are auditioning for:high school,college,professional. Because I know that Sacha Baron Cohen sang the entire score of Fiddler on the Roof for his audition

Highschool with a "Superior-ranking" in Music and Drama.

I remember hearing that about "New-Age" Pirelli.

Fiddler on the Roof wouldn't be a bad choice...

To give me a more certain answer, can anyone offer me specific songs or ballads I could use.

If it's in your range, my dad as a bass-baritone in the 70s used to get parts in off-broadway stuff with Judas's "I Don't Know How to Love Him" from Jesus Christ Superstar.

All I got.

Prolly gonna get beaten down for suggesting Webber, but whatever.

I've heard that it sometimes helps if you sing a selection by the composer but from a different musical.

Are there any Sondheim pieces that would set me apart from the rest? I have several months before the actual audition, but I have to prepare.

Another musical audition rule that I've seen mentioned in countless threads like this in other forums is no Sondheim. I lack the experience to have any personal opinion of the validity of this rule. Supposedly the reason is that the accompaniments are generally more complex than the typical Broadway idiom. Depending on who the pianist is this may or may not be a valid point--but if it is, it's in your interest that you get decent accompaniment. If you don't know that the accompanist will be an excellent sight-reader, it's probably good advice for much of the Sondheim repertoire.

For Pirelli I assume you'd want to show some height, but beyond that, like Dead Chicken said, it really depends on you. "Something Italian" (by which I assume you mean something classical) and something from JCS may both be possible choices, but they are very different in the kind of vocal qualities they show. Which do you think you can make a good impression with? Rather than showing them what you think they want to see, it's more important that you show who you are and what you can do. That's what they really want to see.

Another musical audition rule that I've seen mentioned in countless threads like this in other forums is no Sondheim. I lack the experience to have any personal opinion of the validity of this rule. Supposedly the reason is that the accompaniments are generally more complex than the typical Broadway idiom. Depending on who the pianist is this may or may not be a valid point--but if it is, it's in your interest that you get decent accompaniment. If you don't know that the accompanist will be an excellent sight-reader, it's probably good advice for much of the Sondheim repertoire.

(HINT: Just because you can play the piano by yourself DOES NOT make you an accompanist. Totally different skill set.)

A very valid point. I know the accompanist would be our choir accompanist, he has a long history of Broadway accompaniment. By "something Italian", I was refering to a piece in which I could show my natural Italian sound. I was raised there for several years.

Keep the comments coming and enjoy this little excerpt.

Its not for dscussion, just for your enjoyment.

Close Every Door from Joseph and the Amazing Technicolor Dreamcoat

Close Every Door from Joseph and the Amazing Technicolor Dreamcoat

Close Every Door was quite a marvelous selection.

It will be a finalist, but my search goes on.

If you can sing Pirelli's part, then you are almost certainly a tenor.

If your accompanist can do Sondheim, try:

"Finishing the Hat"-- Sunday in the Park with George

"Giants in the Sky" -- Into the Woods

Pirelli is a very niche part; neither of these really captures his unique personality and it will be very hard to find a song that does. However, these songs, if played right, showcase pretty major acting which is good for the director.

Sad to say, but nearly everyone trying out for major roles told me they were singing from "Into the Woods". Even Sweeney!

"Finishing the Hat", I don't know it from memory, but I can look into it.

Like you were saying, its hard to find a song that conveys what I call "charming arrogance". LOL

Yeah, I'm mostly tenor, but I can very easily reach those low F#'s in the movie version.

Did Sondheim change that song in the movie, or was it just the Burton approach to hit the written pitch? Joaquin Romaguera performed much differently.

I hope that I will be Joaquin Romaguera's Pirelli. I think the role is much more entertaining when he is singing about a talent he doesn't have. LOL. Cutting the poor bloke all up.

Would that be the high school edition character?

As a professional actor(toot toot), I might be able to help squash or support a few myths....

Sometimes you get shows where singing something 'in the style of the musical' is difficult to achieve without actually singing from the musical. I just did a production of "Big River"(Adventures of Huck Finn), and the entire show is Country/Bluegrass/Folky/hoedown/banjo/jawharp/1-string bass/spoons/washboard/harmonica/Moonshine Jug/Country Bears.....type singing, and that is one of the least prevalent genres in musical theater right now(and where those songs are decent and appropriate, they are mostly chorus numbers), so sometimes 'singing from the show' is inevitable.

If your accompanist is capable, bring sondheim. One of the addendum's to the "No Sondheim for auditions" rule is that if you're doing a Sondheim show, you audition with Sondheim. I have seen a dozen or more professional theaters doing Sondheim that actually request a Sondheim selection. Simply because Sondheim has such a unique sound, and you need to show that you can grasp his complex writing style. If anything, I would moreso suggest not singing the "main song" of your character. That is where the trap of 'the right sound' is.

However, for a part like Pirelli's, you can approach the audition with a classical tenor emphasis. All that being said, it also depends on your possible competition for the part. If you are the only tenor who could possibly sing that part (in an honest opinion, not just your bias), or if the director likes you and would obviously cast you, etc... then you could sing 'The Contest' if you really wanted to and get away with it, though I wouldn't were I the only tenor in the state auditioning for the show....

If there is competition, the biggest thing is giving all you've got in the auditions, without overdoing it, and getting a callback (do they do callbacks for musicals in high school?). If you're good, and you know you're good, chances are high, as Pirelli is a unique character role that not just any musical theater tenor can sing.

Some song suggestions...

"Largo Al Factotum"(Barber of Seville)-Baritone song, but gets up to high Fs I believe. Very good display of bravado in a lovable and familiar song. If you make a cheesy joke about barbers, they will either love you, or hate you. ;)

"Feniculi Fenicula"(Italian Folk/Art Song)-Tenor song, very similar in style to Pirelli's "archetype Italian" sound. Also very fun, and bouncy while showing your TENORE!

"Later"(A Little Night Music(Sondheim))-Gets up to a high Bb in the cadenza section. It's a bit of a dirge, but it will allow you to show off your range. And since Pirelli gets up to C twice in the show, I'm assuming you can sing a Bb without much pain. Much.

Good Luck in your audition, and I hope you'll let us know how you do..

"Feniculi, fenicula" was my first idea of what to sing.

The audition isn't 'til fall, but me fretful mind wanders awful here and there.( Mrs. Lovett fall-off)

I will PM everybody that has posted with my results.

If anybody else has some ideas, feel free to post them.

In the mean time, I will work on the earlier mentioned selections.

Thank you all for your help guys.

It means a lot.

I just hope the Seniors don't steal all the parts... Grrr.