You were the lead or member of the cast in your school musical. Now you’re thinking you might like to major in musical theatre to keep that level of excitement alive all four years of college and beyond.

Majoring in musical theatre is an extremely demanding path requiring high-level training in voice, acting, movement, and dance. It also requires business savvy, resilience, patience, and self-confidence.

Not everyone who achieves success in musical theatre has majored in it, but getting a degree in it should provide you with the skills you’ll need to move forward in this field.

Guidance for choosing a school

• Find a musical theatre program that fits who you are and what you want to do.Ěý
• Choose a school where teachers not only have experience in musical theatre but also continue to be directly involved in it. Teachers who are open and candid about your proficiency are more likely to help you gain a chance at success in this highly competitive field. Ěý
• Find teachers who understand what is healthy and safe for your voice and for your body.Ěý
• Look for schools that help bring their advanced students to the attention of musical theatre scouts through showcases and other opportunities.
• Consider the range of career paths associated with musical theatre, aside from lead and chorus roles. At some schools, you’ll find training offered in non-performance areas such as lighting, choreography, stage management, theatrical makeup artistry, and costume design. These are all necessary aspects of any production.
• If you apply to a program that does not offer musical theatre, you can still enter this field with a strong background as a voice, dance or theatre major although you may not get the training in the triple threat that’s needed for lead roles. Note that most non-musical theatre voice departments train students in classical voice.
• The business side of musical theatre includes learning how to market yourself as a “brand” and requires that you have a professional rĂŠsumĂŠ, a website and up-to-date headshots in the most popular style of the moment. Musical Theatre programs should include this as part of your education.
• Look for schools where you’ll find mentors who you’ll click with and who will help you strengthen your proficiencies in voice, acting, and dance. They should also be able to assist you in learning the ins and outs of how to interview and audition. Note that mentors want to work with those who have already set clear goals for themselves instead of taking that task on for you.

Benefits of summer musical theatre programsĚý

If you’re thinking about majoring in musical theatre, take a summer music program focusing on musical theatre before your senior year. You’ll strengthen your skills, increase your self-confidence, meet your competition, learn more about your musical theatre “type,” and gain greater understanding about the world of musical theatre.

You will find yourself rehearsing and training beyond anything you’ve done so far. This will help you figure out whether you can really handle what it takes to survive and flourish in this field. As musical theatre teachers and coaches will tell you, it’s far less expensive to attend a summer music program and find out if this is really the world you want to be a part of before you start applying to schools and taking on the expense of college. You’ll be able to ask yourself: “Do I love this enough to be exhausted after 18 hours of work each day, and still want to wake up the next day and do it all over again?”

Photo credit:ĚýArizona State University School of Music

Musical theatre* training offered through music programs instead of theatre schools and departments provides unique opportunities for students. While theatre and dance are still major components of these programs, the emphasis is on music.

Students attending music school for musical theatre work to become “genuinely fluent in the music aspect of musical theatre,” says Dr. David Herendeen, director of Opera and Musical Theatre atĚýOklahoma City University Wanda L. Bass School of Music. Theory, aural skills, sight singing, music history, and musical theatre history are important elements of the curriculum. Scott Plate, chair of Music Theatre atĚýBaldwin Wallace University ConservatoryĚýin Ohio, says, “With a more thorough grounding in music theory, a secondary instrument and ensemble, a student is more musically prepared for life as a music theatre professional.” Herendeen adds, “The music theatre market expects effective rendering of text and characterization in a variety of song forms and styles for a variety of consumers.” Students study this in great detail and depth.

The music point of entry into musical theatre typically prepares students for crossover work. Eryn LeCroy, a recent Oklahoma City University graduate in musical theatre/vocal performance, spent the summer advancing her training by participating in the young artist program at Seagle Music Colony in New York. She is now performing the role of Miss Carew, Jekyll’s fiancée, in the national tour of “Jekyll and Hyde: The Musical.” She says that musical theatre students are required to audition for the operas in addition to the musicals performed at their schools. “Musical theatre majors must learn how to prepare a classical audition package to add to their standard repertoire.”

* Some schools label their programs “musical theatre” while others call theirs “music theatre.”

Training Triple Threats – and More

Every musical theatre student is typically trained as a “triple threat” (singing, acting, dancing). But according to Herendeen, an internationally-recognized performer, director, and teacher, the threats need to go beyond those three to include “fluency in the language of music, knowledge of the American songbook and its styles and history, genuine knowledge of rehearsal/production protocol, the art of auditioning, how to market oneself, and the ecosystem of the industry in the city center in which you want to work – Chicago, New York City, L.A., Dallas, Miami all have different consumer demands.”

Ann Evans Watson, an actor/singer/dancer and musical theatre coach, emphasizes that students need to be trained in microphone use and “the science of sound.” In addition, she stresses the importance of body work practices such asĚý, Feldenkrais, and Laban, for fine-tuning one’s performance.

Allison Verhofstadt, currently a musical theatre major atĚýBenjamin T. Rome School of Music at The Catholic University of America, recognizes the importance of the training she’s getting in how to audition. “The workshops we have really train you well to get used to auditioning, how to present yourself best, and how to act like a professional actor instead of seeming like an inexperienced student. These skills help secure internships and make auditioning much less intimidating…Plus, the faculty will give feedback. This helps you know where you went right or wrong in the audition and how to improve it. In the real world, you will rarely, if ever, get that kind of feedback, so it is extremely helpful to have that in school!

Jimmy Mavrikes, a recent graduate of The Catholic University of America now starring in “Fiddler on the Roof” at the Arena Stage in Washington, DC, credits his undergraduate training in musical theatre with preparing him to deal with rejection. “More times than not, you will have people telling you ‘no.’ At first this is really difficult, but in time you realize it is just the business.”

Preparing for College

Are you considering studying musical theatre at college? A realistic understanding of the competitiveness of the field is essential. According to Anne Evans Watson, whose studio focuses on Broadway-style singing, “There are about 10 spots in musical theatre programs for every 500 applicants. Most programs want confident, experienced young artists who sing well and have some good acting chops.”

Elise Morrow-Schap, a composer and triple threat performer herself, and Tom Pederson, singer, conductor, producer and head of the Music Theatre Division at The Catholic University of America, encourage students to “get help picking proper material that is age appropriate, vocally suitable and not beyond your capabilities.”

David Herendeen recommends that students get good coaching to prepare for auditions. Anne Evans Watson agrees, and adds that “Most of us can’t direct ourselves or choose and edit audition material for ourselves, so regular guidance and mentorship is imperative.”

By the same token, Scott Plate, an actor, director, and writer, warns that “Overly coached auditions are not usually successful.”

If Only I’d Known…

Working in musical theatre is “a hard working life that you have to love for the sake of the work, and not for the sake of ‘it’s fun’ or the thought of being ‘famous’ and ‘on Broadway,’” cautions Ann Evans Watson. David Herendeen adds: “Whether you end up working in straight theatre, musical theater, film/TV, or as a street mime, it will be as it always has been: a life that requires perseverance. This isn’t faith-based and has nothing to do with clicking your heels together three times and making a wish or praying. Instead, you have to build your reputation and place in life –– work at it and stick to it.”

What do current and recent students of musical theatre wish they’d known before entering their programs?

Alison Verhofstadt says she wishes she’d been better at time management. Figuring out how to balance classes, practice, and rehearsals with sleep and good self-care was tough. “Going into college with a really solid plan, complete with class schedules, homework and practice time, would have been a huge help.”

Jimmy Mavrikes wishes he’d taken dance and piano lessons when he was younger. “Catholic University definitely trained me well, but nothing is better than starting dance and piano when you are young. My parents wasted too much time and money driving me to baseball practice.”

Introductory music theory and aural skills taken before starting college would have helped Eryn McCoy prepare for what was ahead. With 20/20 hindsight she says, “Completing more general education requirements ahead of time would have given me more time to take extra acting and music classes.”

Audition Tips

• When you walk into the room, smile and make eye contact with every person in the room. It shows you are confident and at ease. Take a moment once you state your name and song title, before nodding to the accompanist. This is your audition and you shouldn’t feel rushed. Make sure you’re ready and comfortable before you start singing, take a breath and create your world before starting the song.

Jump in with two feet. Welcome criticism because it will make you stronger. Greet every day with optimism, learn from your classmates, support the people you perform with, and make good friends.

— Allison Verhofstadt, Musical Theatre major, Benjamin T. Rome School of Music at The Catholic University of America

• Be yourselfĚý – listen to your mentors and assimilate what works for you and let the rest go. Have enough well-thought-out, well-rehearsed pieces so that you can stay interesting and relevant.

– Ann Evans Watson, Musical Theatre coach

• Find a song that fits your voice; put it in a good key. If it is uncomfortable to sing, it is uncomfortable for us to listen to. Sing your, and the composer’s, version of the song. Don’t imitate the recording. Many of the voices you hear [in the recording] are electronically mixed to the point where no human can really make that sound.

— Dr. David Herendeen, director of the Opera and Musical Theatre at Oklahoma City University

• Do not sing the most difficult song in your book! Bring a strong point of view to your material, tell the story and enjoy the time you have with us.

– EliseĚý Morrow-Schap, former enrollment coordinator, and Tom Pederson, Music Theatre department chair, Benjamin T. Rome School of Music at The Catholic University

• Breathe. Listen. Take your moment. Don’t be afraid of stillness. Set three goals for yourself before you walk into the audition room. Instead of focusing on trying to figure out what the people behind the table think of you, work on accomplishing those personal goals you set for yourself. Always be prepared and always be early to auditions!

– Eryn LeCroy, Oklahoma City University alum

• Come prepared with everything. So many times in auditions the people behind the table liked me, but didn’t necessarily like my material. They will ask you for something else. At one of my auditions last season I was asked to do 4 songs out of my book and 3 monologues.

– Jimmy Mavrikes, The Catholic University of America alum

• We want to see someone that wants to give their all, but is not the perfect dancer. Whether it’s through your song choice, your monologue, your dance – we’re looking for that spark. We can polish the rough edges if there are any. We’re there on your side. Be prepared to add contemporary urban music styles to your repertoire. Music theater styles are expanding to include rap, hip hop, and house music. Increased stylistic versatility is a must.

– Scott Plate, Music Theatre Department Chair, Baldwin Wallace Conservatory

We frequently hear from Musical Theatre students in high school who lack confidence in their dance training and worry about how this will affect their chances for success down the road.

by Trish Causey

Dance is integral to Musical Theatre, and ideally, yes, everyone would start dancing by the age of two. It is never too late to start dance training — but the sooner you start, the better. As a young person, your body is still developing, and you are naturally more limber and flexible now than you will be in even 5 or 10 years. You may be surprised how quickly your body adapts if you put in the work and dedication.

What Form of Dance is Best?

If you can only afford to pursue one type of dance, choose ballet. Yes, even if you are a guy. Ballet is the foundation of Broadway dance.

Ballet training is absolutely necessary for working in Musical Theatre because choreography is given using French terms from ballet, which you must know at auditions and rehearsals. Professional auditions go by quickly, so you need to know the lingo that the choreographer or dance captain is spitting out.

As a Musical Theatre performer, you’ll also need training in tap, jazz, theatrical (Broadway), ballroom (Standard and Latin), and even hip-hop. Select a school/studio that offers as many of these kinds of classes as possible, and see what you can work out for a bundle of classes, i.e., several different kinds of classes per month for one fee.

Partnering is another aspect of dance training that’s essential in Musical Theatre. Both the female and the male have certain roles they fulfill when partnering each other. You cannot guess or “fake it.” If you can’t partner, you could cause injury to the person with whom you are dancing.

College Musical Theatre Programs and Dance

If you are in high school and looking toward college, you need to be in dance now so that you can boost your chances of getting selected for a Musical Theatre program as well as increase your chances for scholarships. While colleges vary in their expectations of auditionees, if you have your sights set on one of the top Musical Theatre programs, be prepared to demonstrate competent dancing from the outset.

Musical Theatre programs in college will give you some of the dance training you need. You will also get to perform in recitals, productions, and showcases, all of which will improve your dancing, thanks to the intensive schedule of rehearsals outside of your required dance and other classes for your degree.

What Else You Can Do

1. Watch movie musicals from the “Golden Age” of Broadway and Hollywood. Rent or download movies produced by MGM, RKO, and 20th Century Fox. Look for movies starring Gene Kelly, Betty Grable, Judy Garland, Ann Miller, Gwen Verdon, Vera-Ellen, Debbie Reynolds, Sammy Davis, Jr., Danny Kaye, and Ben Vereen. Look for directors and/or choreographers such as Gene Kelly, Jerome Robbins, Bob Fosse, George Abbott, and Rob Marshall.

2. Perform in classic Broadway musicals to gain knowledge, understanding, and appreciation of the musical as a living art form. These are heavily influenced by classical ballet, tap dance, American jazz, as well as the remnants of vaudeville and physical comedy.

3. Attend as much live Musical Theatre as possible. Broadway dancing is not just about doing steps. Broadway has a look and a feel that you must be able to convey to the audience.

4. Seek guidance from a highly-experienced Musical Theatre coach if you need help in evaluating where to focus your energy. Look to college Musical Theatre departments and independent coaches for assistance.

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Trish CauseyĚýis a writer/composer and a Musical Theatre coach.

As a musical theatre major, it’s essential that you understand and protect your voice for the long term. Professional singers are vocal athletes and it takes serious commitment and training to work in the field.

by Nadine Gomes and Rebecca Schorsch

If you are considering turning your passion for musical theatre into a career, here are some important things to consider.

1. Imitation and over-singing

When the Musical Theater bug bites, the fever it causes can result in belting out show tunes in your bedroom, kitchen and car for hours on end. Imitation and over-singing are two significant dangers for the young MT singer. Listening to Idina Menzel or your favorite Broadway star can be fun, but the young high school and college level voice is still developing. The seductive nature of imitation can prevent a young singer from discovering and mastering their own individual and genuine sound. Manipulating your own voice to sound like someone else’s can result in serious and limiting stress and strain. Learning to sing without tension is an essential principle, not only of vocal study but of a long-lasting professional career in Musical Theater.

2. Warning signs

Eight to ten shows a week is a reality for the professional Musical Theater singer. This requires serious training and deep understanding of your voice and body, its strengths and limitations.

Vocal fatigue is unfortunately common among young singers, and it is important to recognize the symptoms. Listen to your body and learn to recognize the important messages it is sending you when singing. Hoarseness, physical discomfort and pain are signs of vocal exhaustion.

Good singing should not hurt . A singer should never lose their voice unless seriously ill. Singing to the point of vocal weakness or strain must be avoided. Know when to stop! If you are experiencing drastic vocal weakness or changes that last longer than a week, it may be time to consult an otolaryngologist, or the voice specialist ENT in your area.

3. Finding the right mentor

First and foremost, someone else needs to be your ears. If you are considering a career as a singer in any style, you need to work with a vocal technique teacher who is an experienced singer. This person should be well-versed in Musical Theater style and performance practice, and understand the principles of good vocal health, including how the body works. They should also be able to help you sing healthily and assist you in choosing appropriate repertoire for study and auditions.

Good singing feels good, sounds good, and is consistently repeatable. It takes time, regular practice and commitment to understand your own voice, and you need a knowledgeable partner on this journey. You should feel comfortable with the teacher and feel that they are helping you take ownership of your own instrument and how it works.

4. Warming up

Vocal warm-ups in your voice lessons are meant to be duplicated on your own as a ritual before all singing. Find time to warm up your voice and body before every practice session, rehearsal and performance. Skipping this essential step is physically dangerous. Think of it this way: Would you run 5 miles without first warming up?

5. Staying healthy

Staying in top physical shape is mandatory for a lasting career in Musical Theater. Drinking plenty of water, eating well, staying physically active and getting sleep aren’t just good for you as a human, they are necessary for career survival as a singer. Learning to go home and sleep instead of staying out partying with friends is a hard but important lesson to learn. The voice is a delicate instrument and it is easier to harm it than you might think.

6. Continuing education

A professional singer’s education never ends. It takes dedication, patience, years of work and healthy life habits to be a successful performer. If this is where your passion lies, the joy needs to be in the journey itself. Staying in top vocal and physical condition makes that journey so much more enjoyable!

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Rebecca SchorschĚý andĚýNadine GomesĚýare both full-time lecturers in Studio Voice for the Theatre Conservatory atĚý.Ěý Their students sing on Broadway, Chicago, National Tours and regional stages.