TEXAS STATE UNIVERSITY

DEPARTMENT OF THEATRE AND DANCE

TH 3396.251 Musical Theatre Audition Technique

Fall 2021 MW 2-3:20 pm TH113
Lab 5:00-6:00pm (please keep this time available)

Instructor: Kaitlin Hopkins Office: TH 217

Email: kh40@txstate.edu Office Hours: By Appointment
Phone: (818) 692-6902 Office Phone: (512) 245-6840

“Go confidently in the direction of your dreams. Live the life you have imagined.”- Henry David Thoreau

Land Acknowledgement: We wish to acknowledge this land on which Texas State University exists and
operates. For thousands of years, it has been the traditional land of the Jumano, Cibolo, Cantona,
Casquesa, Coahuiltecan tribes. It is also the ancestral land for the Apache, Caddo, Comanche, Kiowa,
Wichita, Choctaw, Chickasaw, Alabama-Coushatta, Creek, Kickapoo, Ysleta Del Sur Pueblo, and the
Lipan Apache Tribe of Texas Band of Yaqui Indians. Today, this meeting place is still home to many
Indigenous people from across Turtle Island and we are grateful to have the opportunity to be in unity in
this physical and metaphysical space, to open our hearts to each other in the spirit of sharing our
experiences in order to learn from each other.

Why we do this: The musical theatre program recognizes this rich history and uplift the sovereignty of
Indigenous people, data, and territory. Native nations negotiated government to government, preserving
their sovereign land, rights, and privileges through treaties. When land wasn’t ceded through good faith
efforts, it was often stolen under the white settler expansion. These indigenous people have lived here for
many thousands of years and have made innumerable contributions to our region. Indigenous people are
not relics of the past. They are still here, and they continue to demonstrate their talents and gifts amidst a
backdrop of ongoing colonialism and oppression. We are committed to protecting, honoring, and
celebrating the history and people of this land we are privileged to live and work on.

Course Description
This course concentrates specifically on musical theatre performance, analysis, career preparation, and
continuing to hone audition skills. Students will expand their analytical, professional, and creative skills
through performance work, multiple mock auditions, Business of the Business Labs, and a
comprehensive research project. In addition, students will begin work on identifying material selection for
senior showcase.

Course Objectives
By the end of this course this student will be able to:
● Execute comprehensive audition and performance skills.
● Demonstrate advanced evaluation skills through thorough analysis and comparison of
Post-modern musicals.
● Identify how business skills uniquely apply to the professional market as a performer.

Required Textbooks
Audition Freedom-The Irreverent Wellness Guide for Theatre People by VP Boyle
Reason to Sing by Craig Carnelia
*Additional reading is in files on the Canvas site
Information For Student Success
● Students are encouraged to schedule a meeting just to check in and let me know how you are
doing, ideally around mid-semester.
● All devices must be turned fully off during class, not just vibrate.
● All worksheets and Lab reading are located on Canvas under Files.
● Written work being on time and of quality is a significant part of your grade for this class.
● Come to reading discussions and/or Lab Day discussions with talking points and/or questions.
● Students are required to attend all Harrison, Main Stage, and Studio productions.
● Students are expected to be 100% present for their classmates’ work sessions.
● Although students can submit assignments late, each assignment will receive a 1-point deduction
for each day it is late. If you are struggling to get an assignment done on time, please discuss it
with your instructor.

Homework Expectations
Written work must be:
● Typed, single space
● Name and page number on each page
● Student grade will be affected if this requirement is not met, students will receive a 1-point
deduction per page
● Assignments must be uploaded to Canvas by class time on due date not to be marked late

Guest Artist Expectations

● Take notes! Instructors may request seeing your notes and/or research on each artist at any time.
● All master classes are required. 5 points will be deducted from your final grade per missed class.
● Research guest artists prior to master classes. This should be a career long habit to research
anyone you audition for and/or work with.
● Write a thank you note. This should also be a career long habit, assuming you have something
specific and meaningful to say. Due the Friday following any master classes, with a point
deduction from final grade if not turned in.

Masterclass Reflections

Students are expected to complete a written Masterclass Reflection, due the following class after every
visiting guest artist. This is for you, please do not approach this as “what you think the instructor wants to
hear”. These are learning tools for you, please treat it more like a journal on your experience.

● Masterclass Reflections do not need to be long, just informative. Anywhere from several
paragraphs to several pages is acceptable.
● Masterclass Reflection Worksheet is located on Canvas files.

Work Sessions, Mock Auditions, Lab Days- Oh My!

Work Sessions
Students will complete 4 Work Sessions over the course of the semester.
● You can prepare 16 or 32 bar cuts of songs for your work sessions.
● Songs must be categories you need for your book or rework/revisit of a song in your book and/or
senior showcase options.
Group #1
Samantha Beckman, Marcus Brooks, Lu Chavez, Anna Gassett
Group #2
Joann Gilliam, Emiliano Morales, Kaitlyn O'Leary, Madeline Perez
Group #3
Anyae Reed, Eden Witvoet, Peyton Herzog

Lab Days
Students will have 6-Lab Days over the course of the semester.
● Students must be prepared to have a focused discussion.
● Please take notes for specific discussion points and questions.
● Please note any take-away’s from the materials; and how you can use the information in practical
application to your career.
● Feel free to bring your computers to reference any reading materials, and discussion points.

Mock Audition Information

Students will complete 6 Mock Auditions over the course of the semester. Students are required to do
research, keep an audition journal, and note their goals for each mock.
● Dress appropriately for all mock auditions.
● Use this opportunity to practice your audition skills.

1. Show of Choice Mock: This mock audition is for the show you wrote your cover letter for.
● Select a song that is in the style of the show, and right for the character you would be most
likely to be considered for.
● Dress appropriately.
● Prepare a 16-bar cut as if for an open call.
● Also prepare a 32-bar cut as if for an appointment call. Does not have to be but can be the
same song.
● Turn in any research you do for this audition on Canvas.
2. General Meeting Mock: Prepare your two best cuts for an agent and/or a casting office
meeting 32 bars.
● Should show off what you do best (think, showcase material). Pretend it is for an Agents office.
● If this is the only information they get about you, what do you want them to take away from their
time with you?
● Turn in any research you do for this audition on Canvas.
3. Disney Mock: Prepare two contrasting 16-bar Disney song cuts.
● Audition is for Disney’s Casting office. Mary Sugarman/Tara Rubin are in the room. They are
looking for replacements for all their companies. Dress appropriately. Can be Disney songs or
"in the style of," but one of the cuts must be a Disney song.
● Turn in any research you do for this audition on Canvas.
4. 8-Bar Cut Mock: Prepare two amazing 8-bar cuts that are contrasting in style!
● This is for two different “end of day” Open Calls when they are running out of time, and you
have 8 bars to book a callback.
● First Open Call -asks for pop rock or contemporary musical theatre.
● Second Open Call-asks for Traditional Musical Theatre, something more Legit.
● No research necessary as part of this assignment.
5. Summer Stock Season: Prepare two 16-bar cuts: one up tempo, one ballad.
● Pick a specific summer stock season to audition for.
 ● Bring a hard copy list of the shows from the season you are auditioning for instructor.
● Turn in any research you do for this audition on Canvas.
6. Callback Packet Mock: Prepare your selected callback packet.
● Turn in any research you do for this audition on Canvas.

Rubric for Mocks: preparation, emotional and physical connection, storytelling, vocals, overall
performance, and presence in the room.

Note: Feel free to bring your computers to the lab days when we will discuss these shows so you can
reference your research for an in-depth discussion of the work. Final grade includes discussion of your
research on each show individually, and your comparison of both shows.

Goal Assignment
● Submit a brief statement of your goals for this class.

Resume/Audition Submission Assignment

Students will submit their current resume, and write a mock email submission to a casting director for a
show of your choice. Broadway, Off-Broadway, National/International Tour, new Workshop/Reading that is
currently running or upcoming.
● Whatever show you select will be used for your “Show of Choice” Mock.
● Select something you would be right for and could be cast in.
● This can be something currently running, recently closed, or in the pipeline.
● Challenge yourself to find out about new projects (i.e Playbill or Actors Connection)
● Submit yourself for a specific role.
● Include in your submission: what you would put in the Subject Heading to casting office, content
of email, your signature/contact info/social media/website. Attach headshot and resume.
● This should be emailed to instructor as practice for an actual submission, not submitted on
canvas-email to kh40@txstate.edu

Audition Research/Journal Assignment

Students are required to do research for each mock audition. Include anything and everything- from the
creative team, text analysis/characters reason to sing, etc.

Approach your research each mock as if you were auditioning for that show or creative team. What would
you do if you were going in front of them to prepare?

● Write a brief statement of your goals prior to each mock in your Audition Journal. What do you
want to work on/achieve for that mock?
● Following your audition make an entry in your Audition Journal reflecting on your goals, did you
achieve them? What adjustments do you want to make for next time? Also make notes on: what
you wore, your experience in the room, your preparation, any notes/adjustments you were given
in the room, etc.

Mock Callback Packet Selection

Submit your callback packet selection.
Let’s Get Real/ Business of Auditioning Worksheets
This will take some research to complete the Let’s Get Real Worksheet, and it is imperative to your
success after graduation. Please budget your time, I suggest researching and answering 1-2 questions a
week you should complete it in time. The Business of Auditioning worksheet is something we will discuss
in class, not something you will turn in as it is more personal and reflective. Some of the questions you
may not want to answer, that’s okay. They are just there for you to consider. Our discussion may include
responses to some of the questions and/or what came up for you in simply reading the questions. I hope
it is something you will take with you on your journey as you pursue your personal and professional goals.
Suggested Reading: Radical Acceptance- Embracing your Life With the Heart of a Buddha by Tara
Brach Ph.D.

Research Project Assignment

Fun Home and The Band's Visit
This will be due in three installments:
1. Research and class discussion on Fun Home
2. Research and class discussion on The Band's Visit
3. Final comparison paper and discussion
Objectives:
● Comprehensive analysis of these two scores/shows.
● Comprehensive understanding of each composer, the entire creative team, and their body of
work.
● Exploration of the evolution of contemporary musical theater to postmodern.
● Approach this as if you have been hired to do these two shows with the original creative team.
What would you do to prepare?
● As part of the assignment, students must listen to the composers' canon of work.
● Students will submit all research as well as a cast album worksheet.
Things to focus on for research:
● How has each composer evolved from their earlier work?
● Find interviews with the composers and creative.
● Find any reviews or critical papers on these shows.
● Is this show a turning point in musical theater or for the composer? If so, why?
● How do you think this work has/will inform the art form as it evolves?
● Might consider tracking one- or two-characters’ musical journey-what did you learn about the
composer in doing this?
● Know the whole show.
● Analysis of score from a musical point of view
● Analysis of libretto from a textual point of view
● Include revised Cast Album worksheet

Final Comparison Paper Assignment

● How do you think this work has/will inform the art form as it evolves?
● Do they have anything in common? If so, what?
● Do you think they are significant in the postmodern musical theater canon? If so, why?
● How did your research inform how you would work on the show?
● As part of your conversation/exploration of postmodern musical theater; how do shows like
Hamilton, Dear Evan Hansen, Hadestown fit into that paradigm and how have they influenced the
art form?
 ● Did any other shows lay any foundation for these shows' success? If so, what shows?

Mock Audition Reflection Paper Assignment

Submit a reflection on your experience with the 5 mock auditions: General, Show of Choice, Disney, 8 Bar
Cuts and Summer Stock.
Things to focus on: What did you learn from your research and preparation? What did you learn from
your experience in the room? What did you learn from your experience before you went into the room?
How did you navigate your nerves and/or any negative self talk? If you were going to give yourself things
to work on, what would they be? What did you do well? What did you enjoy?
*Refer back to your mock audition goals and audition journal

Work Session Songs “Reason to Sing” Statement

Write a brief statement of the character's reason to sing, and any research you may have done on the
song. These are not due until the final class, as you may want to adjust them as you go thru the
semester.

IMPORTANT DUE DATES

Week 2
Goals for this class
Week 3
● Summer Stock Mock
● Summer Stock Research
● Resume/Audition Submission Assignment
Week 6
● General Mock
● General Research
Week 7
● Disney Mock
● Disney Research
Week 8
● 8 Bar Cut Mock
● Callback mock selections due
● Fun Home Research
Week 9
Spring Break
Week 12
● Show of Choice Mock
● Show of Choice Research
Week 14
● The Band’s Visit Research
● Let’s Get Real/Business of Auditioning Worksheets
Week 16 (last class)
● Final Comparison Paper
● Mock Audition Reflection Paper
● Work Session Songs (“reason to sing” statement)
● Callback Packet Research
Week 17 (final exam) 5/9 2-5pm Callback Packet Mock
Senior Year Prep
Summer Reading Assignment:
● The Actor’s Business Plan – A Career Guide for The Acting Life by Jane Drake Brody
● Business Lab Packets

Expectations for the first week of Senior BFA:

Come ready to present your top song choices, and 30-50 seconds of text. If you want to dance in one of
your two song options, please have cut of song and dance break worked out. Please bring a hard copy of
your music marked, and in a binder (not in plastic). Also have a copy of the full song in the binder.

Reminder- if you want to take Directing 2 you must take it before spring semester senior year.
You are not allowed to participate in any D2 scenes spring semester senior year.

COURSE SCHEDULE (Subject to Change)

DATE IN CLASS HOMEWORK/DUE DATES

WEEK 1

Mon 1/17 MLK Day- no class

Wed 1/19 Go over syllabus Read:

To Get The Job or Not to Get the Job- Packet
Worse Thing You Can Do in an Audition- Handout

WEEK 2

Mon 1/24 15 min-work sessions Group #1 Due:

Resume/Goal Setting

Read:
Audition Freedom pp. IX, 3-20

Wed 1/26 15 min-work sessions Group #2

WEEK 3

Mon 1/31 15 min-work sessions Group #3 Due:

Audition Submission Assignment
Begin reading discussion if time
Read:
permits:
Audition Freedom pp. 21-35
● To Get The Job or Not … Reason to Sing by Craig Carnelia-Preface & Chapter 1
● Worse Thing You Can Do…

Wed 2/2 Summer Stock Mock

WEEK 4

Mon 2/7 Class time for Summer Stock Due:

Self-tapes Summer Stock Research
 Read: Audition Freedom pgs. 36-59
Reason to Sing by Craig Carnelia-Chapter 2

Wed 2/9 15 min-work sessions Group #1

WEEK 5

Mon 2/14 15 min-work sessions Group #2 Read:

Audition Freedom pgs. 60-100
Reason to Sing by Craig Carnelia-Chapter 3

Wed 2/16 15 min-work sessions Group #3

Discuss Show of Choice mock if time

permits.

WEEK 6

Mon 2/21 General Meeting mock Due: General Meeting Research

Read:
Audition Freedom pgs. 101-121
Reason to Sing by Craig Carnelia-Chapter 4

Wed 2/23 Discussion Day

● General Mock-brief discussion
● Audition Freedom pp. 1-100
● Reason to Sing -Preface &
Chapters 1-3

WEEK 7

Mon 2/28 Disney Mock Due: Disney Mock Research

Read:
Audition Freedom pgs. 122-142
Reason to Sing by Craig Carnelia-Chapter 5

Wed 3/2 Discussion Day

● Disney-brief discussion
● Audition Freedom pp. 101-142
● Reason to Sing Chapter 4 & 5

WEEK 8

Mon 3/7 Two contrasting 8-bar cut mock Due: Callback packet selections due (no research
needed for 8 bar cuts)

Read:
Reason to Sing by Craig Carnelia-Chapter 6
Audition Freedom pgs. 143-203

Wed 3/9 Fun Home discussion Due: Fun Home research

WEEK 9
Mon 3/14 SPRING BREAK

Wed 3/16 SPRING BREAK

WEEK 10

Mon 3/21 15 min-work sessions Group #1 Read: Reason to Sing by Craig Carnelia-Chapter 7

Wed 3/23 15 min-work sessions Group #2

WEEK 11

Mon 3/28 15 min-work sessions Group #3 Read:

Reason to Sing by Craig Carnelia-Chapter 8
Check in with goals if time permits

Wed 3/30 Discussion Day

● Audition Freedom pp. 143-203
● Reason to Sing Chapter 6-8

WEEK 12

Mon 4/4 Show of Choice Mock Due: Show of Choice Research

Read:
Reason to Sing by Craig Carnelia-Chapter 9
Touring Packet

Wed 4/6 15 min-work sessions Group #1

WEEK 13

Mon 4/11 15 min-work sessions Group #2 Read:

Reason to Sing by Craig Carnelia-Chapter 10
I’m an Actor

Wed 4/13 15 min-work sessions Group #3

● Brief discussion summer stock
mock if time permits

WEEK 14

Mon 4/18 The Band’s Visit discussion Due:

The Band’s Visit research
Read:
Reason to Sing by Craig Carnelia-Chapter 11
Cats Audition Journal

Wed 4/20 Discussion Day Due:

● Business of Auditioning Business of Auditioning Worksheet
● Let’s Get Real Let’s Get Real

WEEK 15
 Mon 4/25 Discussion Day
● Reason to Sing Chapter 9-11
● Showcase

Wed 4/27 Discussion Day

● Touring Packet
● I’m an Actor
● Cats Audition Journal

WEEK 16

Mon 5/2 Last Day of Class Due:

● discuss Fun Home/Band's Final Comparison Paper
Visit Mock Audition Reflection Paper
Work Session Songs (“reason to sing” statement)

Monday 5/9 Final Exam 2-5pm (mock callback packets)

Grading
Mock Auditions 25% (5% each mock)
Reading Discussions 10%
In class work sessions 10%
Research/in Class Discussion 10% (Fun Home)
Research/in Class Discussion 10% (Band)
All Written Assignments 20%
Final Callback Packet Mock 15%

A: 100-90 = Consistently exceptional work. The student is well prepared, well-rehearsed, ready to enter
the professional industry, and has excellent attendance.

B: 89-80 = The work is very good overall. Strong work ethic and consistently solid performances.
Excellent attendance.

C: 79-70 = Performances, participation and written work are acceptable. No more than one unexcused
absence.

D: 69-60 = Poor work ethic and attendance record. Inadequate rehearsal and preparation for class work
sessions, performances, participation and written work. Performance work is under rehearsed and poorly
performed.

F: below 59 = Multiple unexcused absences. Seriously deficient in the areas of performance, preparation,
and classroom participation.

It is department policy not to discuss grades over email. If you have a question or concern, see
the instructor in person or via Zoom.

Please Read: Title IX and university policies protects all Texas State students, faculty, staff and visitors
from discrimination on the basis of gender, sex, gender identity or expression, and sexual orientation.
“Title IX” refers to part of the federal Education Amendments Act of 1972 that prohibits sexual
discrimination in federally funded educational programs or activities, which includes Texas State
University. Sexual harassment, including sexual violence, is a form of sexual discrimination. Texas State
is committed to providing an environment that is free from all forms of discrimination, including
discrimination based on sex. The university’s Title IX coordinator addresses concerns related to sexual
discrimination on campus.

Equality-Conscientious Theatre Training

Our mission within the musical theater program at Texas State is to combat racism, sexism, and
heteronormative cisgender dominance in theater and in theater training. Formalizing our goals in our
syllabi, our classrooms, and our stages to break down standard theater training hierarchies; to make a
safe space to share knowledge and experience with our students and faculty is of primary importance. As
educators we welcome the discomfort that comes with taking on the hard conversations and functioning
as a community with a dedication to equitable anti-racist representation, and actively pursuing purposeful
inclusion of marginalized groups and their contributions to the canon of theatre. It is my profoundest wish
as your teacher that all students feel welcome, heard, respected, and included and that they have a safe
place to do their work, to be supported and to celebrate and explore their differences without fear of
retribution and with trust, empathy and equality in all areas of their education.

Classroom Behavior
Students are full partners in fostering a classroom environment that is conducive to learning. To
assure that all students can gain from time spent in class, students are prohibited from engaging in
any form of behavior that detracts from the learning experience of fellow students. Inappropriate
behavior in the classroom may result in a request for offending students to leave class. (Taken from
Student Justice brochure “Maintaining Civility in the Classroom.”)

Participation and Conduct

This is a participation-based course. Participation, interest, initiative, and attention are all crucial to
success in this class. Students will be graded on participation in all class work, their demonstration of the
techniques and performance skills taught in class, and overall improvement throughout the semester. To
participate and perform to their best ability, you must come to class on time ready to work in appropriate
attire.

Distracting conduct such as side conversations, frequently leaving the classroom, or checking phones will
not be tolerated. Please come ready to work at the beginning of class. If you need time to get settled,
please arrive early. When the instructor walks in the room you should be focused, quiet and ready to go.
Do not be late as it is disruptive and disrespectful to your fellow artists and instructors. Class members
must NOT come and go from class once the class has begun.

Please treat each class with the respect it deserves. It is your time and every minute of it is precious.
Come to work; come with an open heart and mind. Bring your passion, your joy, and your energy and
leave everything else outside the door for that class time. Part of being a successful artist is determined
by your integrity in this business, in how you treat yourself, your work, and your fellow company members,
your reputation is everything.

You are expected to treat each class as if it is a professional job, with all the expectations that would be
placed on you in a professional environment. In the professional world lateness is not acceptable and is
grounds for dismissal from a production; promptness is taken very seriously.
Focus and note taking is also expected in a professional environment when people are working or
rehearsing. Part of this class is an opportunity to develop a professional work ethic. Other student’s work
sessions are opportunities to learn.

Written assignments must be completed on time. If there are extenuating circumstances, these must be
discussed in advance with the instructor whenever possible. Class performance work must be presented
on the performance date due. Failure to adhere to deadlines may lower a student's grade or make them
ineligible to continue in class. There is no eating or drinking allowed in class, except for bottled water,
without the permission of the instructor.

Anyone caught text messaging in class will automatically receive an unexcused absence for the day. All
phones must be completely off, not just on vibrate. Any phone going off during class will result in an
unexcused absence for the day. You cannot be 100 percent present if your phones are vibrating. Allow
this class to be the one place you disconnect from technology. Honor yourself as an artist by being
present and showing up for yourself and your classmates.

Attendance
Attendance is mandatory for all classes. Excused absences are for medical or viable personal welfare
reasons ONLY and must be approved by the instructor for an absence to be excused. Students must
present the instructor with a note from a doctor if you are going to miss class due to illness. Students
must notify the instructor before the class that they will be absent. Acceptable notification is either in
person, by phone, text or by email. In the case of an emergency in which students cannot inform the
instructor, the instructor must be informed before the beginning of the next scheduled class, or the
absence will be considered unexcused. After the first unexcused absence, your participation grade will be
lowered 5 points for each unexcused absence. Under no circumstances is an absence allowed due to
travel plans over breaks.

Attendance will be taken at the beginning of each class. Three late arrivals will be counted as an
unexcused absence. If you are more than 10 minutes late you will be counted as absent. If you are
absent, it is your responsibility to learn what you missed and prepare accordingly. If a student is unable to
perform in class on a performance day, you must consult with the instructor before class on whether it is
possible to switch days with another student. If that is not possible the work session or mock audition
must be made up outside of class and must be scheduled with the instructor within two weeks of the
missed session. This is not possible more than once during a semester. If more than one work session or
mock audition is missed that day will be considered a failing grade for that assignment and cannot be
made up.

Please note- If a student does not show up for class and does not inform the instructor prior to class, the
head of the program will be notified immediately. Should the student not be able to be reached, campus
police will be called and asked to do a welfare check.

Attire
Students are expected to dress appropriately for each class. That means rehearsal clothes that you can
move in, or audition clothes if it is a mock audition class. Failure to adhere to these rules will result in a
failing grade for the day, or it may mean forfeiting a performance opportunity for that day. NO flip-flops
ever. On audition days, do not wear sneakers; proper shoes are required.

University Policy
 “Students found guilty of academic dishonesty, which includes, but is not limited to, cheating on an
examination or other academic work to be submitted, plagiarism, collusion, or abuse of resource
materials, are subject to disciplinary action.” (See Student Handbook)
Students with special needs (as documented by the Office of Disability Services) should identify
themselves at the beginning of the term. Useful Link: The Honor Code -
https://studenthandbook.txstate.edu/rules-and-policies/academic-honor- code.html