Cast and Crew Applications

This is the web site to sign up for an audition AFTER you have signed up for a time

When Picking Audition Material

 Pick a song from a show. As in a musical. Not a TV show. Not a pop song. A song from a musical. (This goes for monologues, too: pick a monologue from an actual play, not from a novel or a movie or your friend’s mom.)

 Pick a song that you can find sheet music for. There are some great new/unheard of musicals out there, but you need sheet music, and if it’s new/unheard of, you may not find sheet music. (You can always ask for help finding/getting it!)

 Pick a song that is appropriate for you. Do not sing a high soprano song if you have an alto range. Do not attempt to sing a bass song if you are a high tenor. You get the point.

 Pick a song that shows you off, that you do well with – easily. Pick a song that shows your range, but do not pick a song in which you can hit all the notes only half the time. Pick a song in which you can hit all the notes all the time.

 Pick a song that is appropriate for the show. Don’t sing a song from an opera if you’re auditioning for Rent.

 Pick a monologue that is appropriate for the show – don’t use a speech from Macbeth if you’re auditioning for a comedy; don’t use a hilarious dorky monologue if you’re auditioning for a dark, morbid show. You get it.

 Pick a good monologue. That’s terribly vague, yes, but use your best judgment. Story monologues = bad. (A story monologue is one like “Yesterday, I went to the store. I ate some cheese. I met a llama.” You want a monologue that says something.) 

 Pick audition material for the character(s) you want. Yes, this means you may have to (gasp!) read about the show. You can do it! Even better – show depth. If there are a couple characters you’re interested in, do your song for one character, and your monologue for the other.

 BOTTOM LINE: Pick audition material that you DO WELL. ALWAYS.

 Before Audition Day

 Get sheet music for your song – do not sing a capella.

 Memorize all your audition material. Memorize it. Memorize it a lot. Have it memorized. Really. Seriously.

 Plan your movements/blocking, but don’t choreograph a giant dance routine. Move with purpose, but don’t be stupid about your blocking. You know.

 Time your audition repeatedly (1 minute for both song and monologue for musicals) – keep in mind you may go slightly faster during your actual audition because of nerves.

Practice your slate. This includes your first and last name, your grade, and the names and authors of the pieces you will be performing. Example: “Hi, I’m Bozo the Clown, and I’m a 892th grader here. I will be performing “Really Great Monologue” from “Really Great Show” by Abraham Lincoln and “Really Great Song” from “Really Great Musical” by King Henry IV.”

 Rehearse your ENTIRE audition: your walk to center stage, your slate, your deep breath, your 30 second song/monologue, your other deep breath, your 30 second whatever-you-didn’t-do-first, your thank you to the directors, your walk off stage.

 Quote from Mr. Peterson: “They spend their time being scared rather than spending their time preparing.” This means PRACTICE IT. Don’t practice being scared. That does you no good.

 Practice it ALL. Over and over. Practice it again. A lot. A whole bunch. Practice it so you’re very, very comfortable with the material – if you’re very, very comfortable with the material, it is less likely that you will mess up during the audition. But remember to maintain energy and emotion – don’t become bored with your audition. 

BOTTOM LINE: Be prepaaaaaaaaared!

The Way We Do Things at Chaparral in The Theatre Department:


1.     Everyone is physically and mentally present on time and the entire time. 

 2. Everyone is prepared with their own music, script, and pencil for all rehearsals.

 3. Everyone works hard for every minute of every rehearsal.

 4. Everyone knows the importance of a quiet rehearsal—meaning no talking in the house and backstage—in respect of fellow company members and directors.

 5. Everyone is ready and prompt for all cues, entrances, exits, and scene changes.

6. Everyone will work for what is best for the show and not themselves.

 7. Everyone will always assume positive intent on behalf of fellow company members; what they do, they do with the best intentions for the production.

 8. Everyone will know that negative comments do nothing but hinder a show from becoming better, rather than building it to be the best it can.

 9. Everyone knows that a positive attitude is spread, and rumors are not.

 10. Everyone knows what being focused, on task, and dedicated to an awesome production means, and follows through with it.