Musical Theatre

For candidates who wish to be considered for our musical theatre program in addition to our acting studios for their primary training

Tisch Drama Stageswork

 
SOMETHING TO KNOW UP FRONT...

When scheduling your artistic review, we will ask if you want to be considered for ALL STUDIOS or MUSICAL THEATRE ONLY. Your answer will not impact your eligibility for the musical theatre program.

"ALL STUDIOS" OPTION

This option is for those students for whom Tisch Drama is their overriding objective. These candidates will be considered for placement in the musical theatre studio first. If we feel they are a good fit, we will place them there. If not, we will place them in one of the acting studios.

"MUSICAL THEATRE ONLY" OPTION

This option is for those students who want to use their undergraduate experience to study musical theatre. If we do not feel they are a match for our musical theatre program at this time, they will not be accepted into NYU.

MUSICAL THEATRE ARTISTIC REVIEW

ACTING EVALUATION

MONOLOGUES
Two contrasting monologues — both contemporary
  • We define “contemporary” as anything written from around 1900 to now

  • Each monologue must be under 2 minutes in length

  • All monologues must be from published plays (no film/TV scripts; no original material)

  • Please choose material that is within your age range (roles you would be cast in now)

  • Props and costumes are not permitted

  • We want to hear your natural voice. Please do not add an accent to your monologues

CONVERSATION

You will have an opportunity to converse with your evaluator immediately after presenting your monologues. This is a chance for us to get to know you a little bit. We've watched your work as an artist and now we want to learn about you as a person.

SINGING EVALUATION

Two contrasting 32-bar song selections     

  • One 32-bar cut must be from the published musical theatre canon
             

    • Standard Broadway repertoire would include: Rodgers and Hammerstein, Rodgers and Hart, Kern and Hammerstein, Lerner and Loewe, Stephen Sondheim, Leonard Bernstein, Cole Porter, Irving Berlin, Kurt Weill, Cy Coleman, Jules Styne, Bock and Harnick, Kander and Ebb, George Gershwin, Duke Ellington, Stephen Schwartz, Jonathan Larson, Jason Robert Brown, Michael John LaChiusa, Andrew Lippa, Adam Guettel, Noel Coward, Rupert Holmes, Jeanine Tesori, Andrew Lloyd Webber, Jerry Herman, Yip Harburg, Harold Arlen, Marvin Hamlisch, Alan Menken, Galt MacDermot, etc.     

  • One 32-bar cut may be from either musical theatre or a published contemporary piece
    • Pieces may be from rock, pop, hip-hop, jazz, gospel, country, opera, classical, etc.
  • An accompanist will be provided for the singing evaluation
   

  • Please bring sheet music for the accompanist


  • Each 32-bar cut must be clearly marked

  • Sheet music must be double-sided and placed in a three-ring binder

  • Evaluator may test your vocal range
   

  • Please be prepared to sing additional selections if requested

DANCE EVALUATION

All musical theatre candidates must participate in a dance evaluation. The purpose of this evaluation is for us to learn where you are in your own dance/movement life. Are you a serious dancer with years of experience and training? Have you never taken a dance class but like to groove to your favorite song when it comes on the radio? Are you somewhere in between — perhaps you learned some choreography for a musical at school? We just want to know where you are right now.  

Freshperson musical theatre candidates attending artistic reviews in New York, Chicago, Los Angeles, and Miami, along with transfer musical theatre candidates in New York, will participate in a dance call, wherein they will be taught a combination incorporating elements of ballet and contemporary dance. See more details below.

Candidates submitting digital artistic reviews will be required to submit a dance video. See more details below.

DANCE CALL (NYC, CHI, LA, MIA)

(Freshpeople in New York, Chicago, Los Angeles and Miami; Transfers in New York)


In small groups, candidates will be taught one combination that includes elements of ballet and some sort of contemporary dance (modern, jazz, Afro-centric, etc.). The purpose of the dance call is to assess your relationship to movement and your responsiveness to choreography.     

•  Please wear comfortable, fitted clothes that provide ease of movement     

•  Ballet slippers, jazz shoes or no shoes are fine (but no high-heeled character shoes)

•  You will have time to change into another outfit for your acting and singing evaluations

DANCE VIDEO FOR DIGITAL CANDIDATES ONLY

FOR DIGITAL SUBMISSION CANDIDATES:

You will upload a video of you performing a combination to SlideRoom. You will find specific instructions on how to create your dance video in SlideRoom.

WHAT TO BRING

In addition to uploading them digitally, you are required to bring THREE copies of your photograph and résumé to the artistic review. A snapshot is preferable, as long as you are recognizable in the photo. Please use the proper format for a performing arts résumé (more information here).  Your evaluator will not accept additional material beyond the photo and résumé.

WHAT TO WEAR

FOR YOUR ACTING AND SINGING EVALUATIONS

Please wear clothing and shoes that allow you to move comfortably in your audition. For those inclined to wear heels, please keep them at a reasonable height. You are welcome to perform barefoot.

For dance attire, please refer to the dance call description above.

SESSION TIMES

You will reserve either a morning or afternoon session for your artistic review. You should expect to be with us for the entire session. Sessions are approximately 3.5 hours. All candidates arrive at the same time to check in. For the most part, check-in for morning sessions begins at 9:00 and afternoon sessions at 2:00.

The most important thing to remember is that we want to see you. We want to get to know you through the music. Pick songs that you love to sing. Make sure they show your vocal range and are appropriate for your age. 
As you work on your material, explore these points: Why would I say these words? Who am I talking to and what do I want? We’re interested in your unique perspective and how you engage the material.  

— Advice from a Singing Evaluator

Use your time wisely. While you wait to come into the studio, get your body ready to move. Do stretches, pliés, even jumping jacks. Deep breathing can help calm and focus.
We will be looking at your ability to pick up and retain choreography but most importantly, how you celebrate movement. Regardless of where you are in your training, show us that you love to dance and are not afraid of focused, hard work!

— Advice from a Dance Evaluator