HONOURS BACHELOR OF MUSIC THEATRE PERFORMANCE

Bachelor’s Degree Program Program Code: PBAMT Trafalgar Road Campus

IMPORTANT The following is for information purposes only and serves to inform applicants of the possible components to be included in a portfolio submission. Portfolio requirements are subject to change from year to year. Once you have applied to this program, specific instructions for portfolio requirements and submission deadlines will be provided.

Program Eligibility

Ontario Secondary School Diploma or equivalent, including these required courses:

One English, Grade 12 (ENG4U) plus: Five additional Grade 12 subjects at the U or M level Minimum 65% overall average, or Two semesters of postsecondary education including required courses with minimum

65% overall average. (In previous years, the actual admission average has usually beenin the 79 – 80 % range.)

Selection Process for Applicants

Eligible applicants are selected on the basis of previous academic achievement (the average of their six highest senior-level credits, including required courses), and on their skill and potential as demonstrated in a comprehensive audition. Please note we do not accept letters of reference from applicants. Classes for the fall term begin Tuesday, September 4, 2018.

GENERAL INSTRUCTIONS FOR APPLICANTS

There are two stages to the audition process. Stage 1 requires an online submission of specific audition portfolio components. This includes a headshot and résumé, an artist’s statement, videos of 2 songs, a monologue and a dance sequence (4 videos in total). Stage 1 instructions will be provided to applicants. A $75 assessment fee will apply. The deadline for submission of all material is February 25, 2018. The earlier you complete the Stage 1 process, the earlier you may receive notice of Stage 2 call-backs.

If successful in Stage 1, applicants will be required to attend Stage 2, a callback audition, in person, at Sheridan College (Trafalgar Campus, Oakville Ontario). Applicants selected for the in-person callback will be notified by their Sheridan email account in early March 2018 in order to make travel plans. Callbacks will take place in April. Applicants will be

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provided with a specific date for their in-person callback audition. This information will not be released over the phone.

For the in-person callback audition, we advise applicants to plan to spend the entire day at or within proximity of Sheridan. Assessment of vocal and acting ability takes place between an individual applicant and the adjudicating panel. Following the dance assessment and group improvisation assessment, we will provide each applicant with a time slot for their individual assessment so that applicants may plan their day accordingly.

STAGE 1 – ONLINE SUBMISSION

Applicants will be required to watch three videos and will receive links to them: PROGRAM OVERVIEW video, the DANCE ASSESSMENT EXERCISES video and the SAMPLE AUDITION video.

After viewing the videos, applicants will be required to submit the following online and will receive detailed submission instructions:

a) ARTIST’S STATEMENT: Reply to the question: Why are you applying to theHonours Bachelor of Music Theatre Performance Program at Sheridan? (Maximum500 words, PDF)

b) RÉSUMÉ: a PDF of your full résumé, including any training and experience you havehad in music, theatre and dance as well as academic honours, work experience andcommunity service. (Maximum 3 pages, PDF)

c) PHOTO: a current photo of you, either black & white or colour, headshot preferred.

d) VIDEO AUDITION COMPONENT: this must include the following:1. A monologue from a contemporary play, no longer than one minute (a list of

suggested pieces is attached). The monologue must be memorized andshould be performed in the context of the play.

2. Two music theatre songs of at least thirty-two bars each. Both songs must be memorized and one should be from the Golden Age of Music Theatre (1943-1964) a list of suggested pieces is attached. Sing with recorded or live accompaniment, not a cappella. This song portion should be no longer than 4 minutes in total.

3. A demonstration of you performing the three dance exercises from the video demonstration (i.e. port de bras, chainé turns and jetés). Please use the accompaniment track provided for these exercises in your video.

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Video Preparation Suggestions

The faculty realizes that making audition videos adds extra challenges to the application process. Please know that you will not be evaluated on the quality of the video recording itself. It is not necessary to submit a multi-camera, highly technical studio video. The main goal is clarity, so that your work can be seen and heard.

Dress as you would for an in-person audition.

Avoid extreme close-ups and be sure to include full-body shots. The majorityof the shots should be medium shots (i.e. waist up).

Try to balance the volume of the piano with your singing, but don’t sing with amicrophone or extra amplification.

For your songs: say your name and the name of the song and the musical it isfrom.

For your monologue, say your name, the character and the play the monologueis from.

For dance, say your name and introduce each exercise.

Recording on a phone device will be fine.

STAGE 2: IN-PERSON CALLBACKS AT SHERIDAN COLLEGE

Those invited to the in-person callback audition will be required to bring: One copy of a one-page theatrical resume and a recent 8 X 10 photo. A hard copy of your artist’s statement (the same one submitted online).

1. Dance Assessment

The dance assessment determines your aptitude for dance pertaining to music theatre. After a physical warm-up, a routine will be demonstrated and taught and applicants will be asked to perform it in smaller groups. In order for the auditors to assess fairly, you must wear suitable dance attire. Women should wear jazz shoes, leotards, tights/and or dance skirts. Men should wear jazz shoes, t-shirts, jazz pants or shorts.

Applicants are not required to have formal dance training, but it is highly recommended to score effectively. We need to see that the applicant has some natural facility, performance ability and is willing to try anything.

2. Group Improvisation Assessment

The improvisation exercises you will be involved in could take a variety of forms, but anticipate a physical experience. The emphasis will be on listening to others and reacting spontaneously with members of your group. We are watching to see how well you collaborate and engage in the storytelling, in a group setting. A demonstrated willingness to play is emphasized.

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3. Panel Assessment

a) Two contrasting songs

Be prepared to perform the two songs from your video submission. These should be contrasting, age-appropriate songs from the musical theatre repertoire. One song must be from the Golden Age of Musical Theatre (1943 – 1964). Attached is a suggested list of Golden Age songs. You must provide your own sheet music in the right key. We want to hear your true voice. Please avoid character songs that one would perform with a manufactured voice or accent. For example, “Adelaide’s Lament” from Guys and Dolls or “I’m Not That Smart” from The 25th Annual Putnam County Spelling Bee. Although you are allowed to move freely in your song performances, please do not choreograph or over-stage your songs.

Please Note: An experienced accompanist will be provided and you will be expected to perform with that accompanist. Your interaction with our accompanist is an essential part of your audition. You may not accompany yourself. Your sheet music must be legible and in the key in which you wish to perform it. Do not fold or bend or staple your sheet music. If you use photocopied music, put your music in a 3-ring binder.

b) A monologue

Perform the monologue you submitted online i.e. one contemporary, age-appropriate monologue (not to exceed 60 seconds). Attached is a suggested list of contemporary monologues. Applicants may also choose from other material if they wish.

c) A redirect

A member of the adjudicating panel will ask you to redo a portion of your song or monologue with a specific change in focus. They may ask you to change the character or relationship or even the objective (want). They may ask you to do something that seems a bit odd, or incongruent with what you know about the play/song/character. This is meant to give the applicant a chance to demonstrate versatility, openness and willingness to take risks as an actor in-training.

d) Participate in a discussion with members of the faculty.

The music theatre industry is a highly social one. After your song and monologue performance, the auditors will engage you in a brief conversation. Be yourself, breathe. It is about human connection.

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WHAT ARE WE LOOKING FOR?

Someone who…

Has intellectual curiosity, imagination, initiative, discipline and recognizable talentas well as the potential to succeed in our program.

Is prepared but flexible and is clearly a team-player.

Is present in their body i.e. comfortable physically.

Can communicate ideas in dialogue/lyrics, music and dance.

Sings the notes, rhythms and words accurately, with a clear sense of pitch, anunderstanding of musical line, and a healthy vocal approach that doesn’t pushthe voice beyond your own natural vocal range.

Is committed to acting as the basis of all music theatre training.

Appreciates and takes pride in the artistic growth of fellow students.

Has general interests beyond the arts, and is fully engaged in understanding theworld at large.

Is committed to find ways in which the arts can impact and enrich modernsociety.

Has done their research about Sheridan College, the Faculty of Animation Artsand Design and specifically the Honours Bachelor of Music Theatre PerformanceProgram (e.g. talk to recent alumni, attend shows and open houses)

Is committed to an environment that integrates academic and conservatorytraining.

Separate rubrics are provided for both the online submission and in-person callback portion of the audition process. The staff of the Admissions office and the Faculty of the Honours Bachelor of Music Theatre Performance Program are not able to provide individual feedback from the student auditions because of the volume of candidates to consider. We ask for your understanding, and thank you in advance for not requesting individual feedback via phone calls or emails.

Please note: This is a highly competitive program for which the number of eligible applications exceed the number of qualified applicants to fill the program. On average we accept 45 students each calendar year.

Audition Material Suggestions – For Online Auditions and In-Person Call Backs

Choose songs with which you can communicate a specific situation in a clear context with an objective (goal). Make the situation as honest and specific as possible. Even with 32-bar cuts try to give the song a progression (an arc). Select material that is suitable for your age and experience. Choose songs which fit comfortably within your range. Explore the lyrics of the song as carefully as you explore the music. Be absolutely certain that you are singing correct words, notes and rhythms.

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W omen’s G olden-Age So ngs Many a New Day from Oklahoma If I Loved You from Carousel Mr. Snow from Carousel If I Were a Bell from Guys and Dolls Show Me from My Fair Lady The Simple Joys of Maidenhood from Camelot It’s a Perfect Relationship from Bells Are Ringing Once You Lose Your Heart from Me and My Girl Much More from The Fantasticks Gorgeous from The Apple Tree How Lovely To Be a Woman from Bye Bye Birdie Far From the Home I Love from Fiddler on the Roof

M en’s G o lden-Ag e So n g s

Almost Like Being in Love from Brigadoon On the Street Where You Live from My Fair Lady If I Loved You from Carousel Something’s Coming from West Side Story I Met a Girl from Bells Are Ringing I Believe in You from How to Succeed in Business Without Really Trying Leaning on the Lamppost from Me and My Girl When I’m Not Near the Girl I Love from Finian’s Rainbow She Loves Me from She Loves Me Tonight at 8 from She Loves Me Try Me from She Loves Me Miracle of Miracles from Fiddler on the Roof

Choose monologues that are appropriate for your age and experience. Be able to discuss your selection. It’s best to select monologues from plays, as opposed to special material written for monologue books, or found on websites. Avoid historic styles, such as Shakespeare, and verse or poetry. Avoid dialects. Use good judgement in selecting the monologues, avoiding pieces that may be inappropriate because of language or situation.

Below is a suggested list of contemporary monologues. Applicants may explore other repertoire.

W omen’s M onolog ues

Patsy from Little Murders by Jules Feiffer

Jean from August: Osage County Rainy from Adventures of a Black Girl in Search of God by Djanet Sears Rebecca from The Unnatural and Accidental Women by Marie Clements Beneatha from A Raisin in the Sun by Lorraine

Hansberry

Steph from Reasons to be Pretty by Neil Labute

Ernestine from The Anger In Ernest and Ernestine by

Robert Morgan, Martha Ross and Leah Cherniak

Bobbi from Papers by Allan Stratton

Lise from Les Belles Soeurs by Michel Tremblay

Eloise (15) and Christine (24) from Eyes of

Heaven by Beverley Cooper

Irene from A Nanking Winter by Marjorie Chan

M en’s M o no log u es

Owen from Melville Boys by Norm Foster

Paul or Rick from Six Degrees of Separation by John Guare

Miles from The Drawer Boy by Michael Healey

Booth from Topdog/Underdog by Suzan-Lori Parks

Biff from Death of a Salesman by Arthur Miller

Rodney or Michael from Lion in the Streets by Judith

Thompson

Jim or Tom from The Glass Menagerie by Tennessee

Williams

Eugene from Brighton Beach Memoirs by Neil Simon

Dale from F O B by David Henry Hwang

Starbuck from The Rainmaker by Richard Nash

Mohammad from Relative Good by David Gow

Below is a suggested list of Golden Age songs. Applicants may also explore other repertoire from the Golden Age of Broadway (1943-1964).

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