The eyes do have it. While your voice can fill a room with energy, it is the eyes that bring it all into focus.
Points of Focus (Left/Center/Right) are crucial in vocal performance; in sharing your eyes or line of sight with the audience.
Some people read lips. Everybody reads eyes.
Simplest approach (for now) is to:
1) Stretch out your arms in a “V” in front of you. It should look like you’re about to hug someone. Eyes are already at Center. Pick a point about 15 feet in front of you and “see” it. Really see it.
2) Turn Eyes and Face (just your eyes and your face, not the whole body) left along the left arm. Don’t go beyond the left arm. Let the eyes lead the face, don’t go all robot on us…Pick a point about 15 feet in front of you on the left and “see” it.
3) Back to center. Eyes first, face follows. Center Point of Focus.
4) Eyes lead face to right along right arm. Pick Right Point of Focus (15 ft., etc.)
5) Back to center. Eyes lead the face.
That’s the start of it. More tomorrow…
I talk about this all the time….
But it does bear repeating.
In an audition, many things are out of our control. We usually don’t control who our scene partner is when we get paired up to read for a musical. Today’s economics pretty much dictate that we don’t hire and bring our own accompanist to a musical audition anymore. We certainly can’t control whether or not a production team sees us as having the right look or image for the characters and matchups they have in mind (even if we do wear an original sailor’s outfit from Dames At Sea to the first audition — btw, don’t do that…).
But we can certainly control whether or not we are “present” when we audition. “Present” means simply being there. When you walk in the audition room, be there. If they say hello, say hello back. Don’t prepare a speech or a witty line for when you first walk in — that moment of inspiration is long past and you might not have their immediate attention if and when you do say it; you may unwittingly appear controlling or just loud and obnoxious, possibly interrupting their conversation about the singer who auditioned just prior.
We flip the switch when we are asked to perform. At that point, we must let go of all self-observation as it is most important that we are present and focused on not just how we sound, but what we are saying, who we are saying it to, why we are saying it and thinking all the thoughts that go along with the freedom of being present.
When you can walk away from a vocal audition and honestly say, “I felt present when I sang,” then you truly did your work as an artist.
Music has some very magical properties. Magic happens in my studio quite a bit, mostly because I push my singers to “remove the emotional distance” between themselves and the song.
We don’t ever want to fake ourselves or our audience out of the real energy that is present in our being. That would not only be inauthentic, but, ultimately, pretty boring.
Of course, we don’t need to be a serial killer barber in real life to pull off the lead in Sweeney Todd on stage, either.
Our job within the context of a song or a musical theatre role is to find the through-line of humanity and spirit, which makes all things “relate-able.” Let the sets, lights and costumes do their part. Let the orchestra do theirs. Let us choose to be the vessel of informed energy, armed with words, pitch and emotion, and, having burned said information into our DNA, let us become full energy in performance; concentrated and free, focused and present.