Musical theatre audition prep and how to keep your pianist happy…

Hello and welcome to my corner of the internet! I’m really excited to start this blog, and fill it with tiny gems of information I’ve picked up over the years. Hopefully some of it is interesting, and maybe even useful!

My first post has to be the one I feel most passionately about. Having worked as an audition/acting through song pianist for a number of years now, I’ve been jotting down all the things I wish performers knew before coming into the room. So these are my audition prep tips to keep your pianist happy!

Disclaimer - virtually all audition pianist are different, and these are just some of the things I like to see:)

Score prep:

There’s a debate about taping vs folder. Do either, but whichever you pick, do it well!

Taping - tape the whole way up the page, not just in the centre (it will flop down)

Folder - can reflect light and make it hard to see. If possible, find the least reflective wallet you can, or have a folder where you put the sheets into the just the corners.

Books - if a well used book with a flexible spine, sure! If new… it’s just going to close partway. Make sure pages are easy to turn, eg fold the corner.

iPad - it’s a new age and most pianists will be happy working off an iPad. Double check they know how to turn the pages and demonstrate if necessary. Please make sure notifications are silenced, and that battery save mode is off (else it will turn off mid-song!)

Tempo:

Give the tempo when you give the pianist the music. It’s your space, so own it.

Some pianists dislike you clicking at them, so to be safe, I recommend singing a line or two and patting your thigh. It’s all about the attitude you bring to the room… being calm, clear and confident when giving tempo is ideal - never condescend.

“Sing out Louise!” - never whisper to your pianist. Chances are the panel are having their own conversation and aren’t even listening!

I’m going to say this a lot. In an audition, YOU are in control. If you gave the wrong tempo, or the pianist hasn’t quite understood, most of the time you can lead and push the pianist forward/backward. A good pianist will follow you. Alternatively, if it’s way off and there’s no way of adapting, don’t be afraid to stop, go back to the pianist and give a new tempo. Again, it’s all about the attitude you do this with: be apologetic and polite, and start again. Your pianist might be in the last leg of auditions and need a coffee at this point, and they’re only human!

Cuts:

Always talk the pianist through your music so there are no surprises. If there are no cuts, say so.

Make cuts clear - I personally love colours on the page, but pencil is enough.

If a cut eliminates a whole page, get rid! Be wary of printing double sided for this reason.

Cutting repeats where there’s a 1st and 2nd time bar: if you were to play both repeats, you’d play the first time bar, go back to the start of the repeat, play up to the first time bar but skip over it and play the second time bar instead. The second time bar often leads into the next section, or to the end of the song. If you only want to play once through, no repeat, it’s as though you are doing it for the second time, to get to the next section. So, you want to cross out the first time bar/s.

In general, make sure your song isn’t too long - and I’d advise using a folder if it is, to avoid too many pages on the piano.

General Housekeeping:

If you have photocopied music, please make sure nothing is cut off! E.g. bottom notes of the bass clef, or key signatures.

Feel free to write things between the piano stave (treble and bass clef), so it’s directly in the pianist’s eyeline. Write clearly.

Make sure you have rehearsed with your exact arrangement, so you know how long your introduction is. Cut your intro down if too long.

Music found on the internet may come with a cover page. Don’t include this when taping as it wastes space on the music stand.

For pop songs, try to choose an arrangement with chord symbols above. Some arrangements are very sparse, so having chords gives the pianist freedom to play around and make it their own.

Final Note:

In an audition, the pianist is your best friend! Establishing a good, friendly connection with them from the get go will only help.

The audition is YOUR space. I always vibe with a performer who is well prepared, knows their stuff, and exudes confidence.

The panel aren't just looking for talent, they’re also looking for what kind of person you are, and what energy you may bring to the company. So: be yourself, be confident, and know your worth. We are lucky to have you in the room - giving up your time, and sharing your craft with us.