Applying Musical Theatre Phrasing To Shakespeare

Fear not, musical theatre actor;

You are better at Shakespeare than you know.

Do not worry yourself about the rules;

Worry only about being understood.

Let’s see. three lines of 10 syllables, and, oops, 11 syllables on the last line.

Ah well, Shakespeare did that plenty of times, too.

He and his actors had to deliver 20 plays a year with three or four days rehearsal and no director. Surely you can find it in your heart to forgive an extra syllable every one in a while.

“But what about all the rules?” you ask.

It’s difficult to say that there were “rules” 400 years ago. Shakespeare himself signed his name with at least three different spellings. Pretty flexible guy, if you ask me.

While well-meaning folks have excelled at adding tons of rules over the last four centuries, Shakespeare’s ultimate goal was simple. He wanted to be beautifully understood.

Utilizing the evolving form of the day, he gave his actors hints, direction, breaths, timing, etc. to give his plays the best chance for monetary success. He needed to be understood by everybody with a penny to a shilling in their pocket. He made a lot of money. He did not die broke.

For the most part, his use of language is gorgeous, lyrical, melodic, percussive, dynamic, deep – all things we seek in musical theatre.

So try this:

Say this line out loud:

“Now is the winter of our discontent

Made glorious by this sun of York,

And all the clouds that loured upon our house

In the deep bosom of the ocean buried.”

It’s Richard III. Loured (“frowned”) is one syllable here (try pronouncing like “floured”). Buried is also one syllable – used in other lines, it could be three. The “sun of York” is Edward IV, his brother and the king he seeks to unseat.

Now that you have more information, say it out loud again.

Now say it to a pet, another human close by, or to yourself in a mirror. Make your audience understand these simple four lines.

Now turn those four lines into two.

Now sing the two lines with your own melody (you can do it!) and pay attention to how you changed your initial reading into a song.

Try singing the lines in the style of Sondheim, Webber, Schwartz, R&H, Menken. Make it a ballad. Make it an up-tempo. Sing it like a rock song, a jazz song, a country song, a Kpop song. Play and experiment.

Now go back to saying the lines with the simple intention of being understood.

Removing The Doubt In Vocal Performance

When it comes to vocal performance, I guess we can put “doubt” and “fear” into the same wordsphere. Only problem is that doubt and fear are extremely personal; based on a performer’s lifetime of unique experiences. When I was 17, I sang “Yankee Doodle Dandy” in front of a halftime homecoming crowd. I was decked out in a sequined white tux with tails (thanks, Michelle!) and a stars and stripes top hat. Cheerleaders were in position down on the field – maybe they formed a star, I don’t remember that part very well, but I do remember that I sang and danced on that field. And my microphone was off. The whole time.

The microphone didn’t have an on/off switch, so there wasn’t much I could do about it. As I was performing what appeared to be a mime act, Donna, one of the celestial cheerleaders said, “Your mic’s not on.” And I said, “Yeah, I know” and kept dancing (box step, walk, walk, grapevine…).

When I quietly left the field with the cheerleaders, Scott the sound guy confirmed on the sidelines that, yup, my mic was off the whole time. The drama teacher, Mr. Ruehle, saw my reaction to that news and complimented me on my professionalism, mentioning how I just “shook it off.”

It was disappointing for sure, but I did shake it off. You see, just two years prior, at the gargantuan annual high school musicale extraordinaire held in the sold-out gymnasium, my mic was off for the entirety of my big solo debut at my new school. Now, that was horrifying.

Performing can be a very humbling experience and your willingness to surrender to mayhem is one of the keys to happiness.

So, as a vocal performer, what is in your control?

The Lyric.

You can’t do much about the mic, the mixer, the accompanist or the sound system, but you can know your lyrics inside out.

Here’s your checklist:

  1. Without singing it, how fast can you enunciate every word of the song in a monotone with no spaces/word stretches? Can you do it in under 30 seconds? Time it.
  2. How few breaths can you take in that 30 seconds? One? Two?
  3. Can you look at or read an article on your phone while saying your lyrics as quickly and as understandably as possible? Can you then tell us what the article was about?
  4. While facing in one direction, focus on one item in the room and tell the lyrics to that item, then change to north, south, east or west, focus on another singular item, repeat and continue.
  5. Be joyful in your practice.

Auditioning 101: Five Songs In Your Back Pocket

As a musical theatre performer, you want to be prepared for any audition, but the one mistake many young performers make is trying to “find a song” rather, “the perfect audition song” at the last minute.

So they scramble around, asking everyone’s advice until they finally find the 16 or 32 bars (“thanks, grandma!”) that they must learn, memorize and perform brilliantly in two or three days. And, unsurprisingly, the audition goes about as well as all the other times they found the perfect audition song at the last minute – which is, not very.

As singers, we should know and be able to sing hundreds, if not thousands, of songs. In a nightclub setting, I can sing for four hours without repeating a song.

But in an audition setting, we need to carefully choose quality over quantity. We need “tried and true” over the new. It is through trial and error that we find five songs for our audition toolkit that pretty much guarantee a callback if we are even remotely right for a part. This can’t happen if we’re always learning a new song for every audition.

Basic: For your auditions, have an uptempo song and a ballad that you know like your DNA. You don’t even have to try to remember the lyrics as they are a living part of you. Make sure these songs represent positivity – that you’re a winner or at least a person who sees the light at the end of the tunnel. Don’t sing a song about how disappointed you are or what a big loser you are as you will run the risk of us sharing that dim opinion of yourself.

Advanced: Five songs in your back pocket. You know them backwards and forwards and you’ve sung them for a very long time. You could read a magazine, practice yoga and still sing them without missing a note. Every song has a “money” note in it. Something that absolutely shows off your best high note. Have an uptempo and a ballad from shows in the 1930’s to the 1980’s. Have an uptempo and a ballad from shows in the 1990’s to the 2020’s. Have a high-energy rock or pop song that is fun and shows off your range. In an audition, you and the song are one. Show us you’re a winner.

Vocal Performance: The Eyes Have It, Pt. 2 — Maintain An Even Plane

Now that you have practiced your points of focus: start Center, look Left, look Center, look Right, look Center, etc. (always coming back to center between Left & Right), you want to make sure that you “maintain an even plane.”
In other words, don’t let your eyes go over the audience’s head and don’t let your eyes look down at their shoes, either.   In an audition, you might have three people sitting at a table.  Not a problem.  When you perform, don’t look your auditioners right in the eyes, that can be fairly uncomfortable for everybody.  Better yet, create/imagine a friendly face right next to the face of the person in the middle.  Imagine your new friend sitting at that table.  Look them in the eyes.  This will be your center focus.
Now imagine a friendly face just next to the face of the person on the left at the table.  Left Focus.
Now imagine a friendly face just next to the face of the person on the right at the table.  Right Focus.
There you have it.  Three simple points of focus that don’t invade the casting people’s space, but that share the same eye plane for all to see and feel your vocal performance.
This works for all singers from the stage whether it be Pop, Rock, Cabaret or Broadway.
Another issue for those of us watching you; if you close your eyes to show us how moved you are by your own performance, you’ve lost us.
Next: WHEN to change your point of focus.    

Being Present

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.

Removing The Emotional Distance….

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.