I have a New York Diner menu strategy.

Before I enter the establishment, I hold a brief meeting with myself. 

I say (in a voice not unlike Ted Lasso), “Self, you’re about to look at a whole mess of choices in this laminated culinary novella.

“There’ll be cherry blintzes, Denver omelets, a chef’s salad, and all kinds of things to sling between your choice of toast.

“Now, before you succumb to a decision stupor, I want you to focus. Focus on that one thing that you’re going to want to chew for the next brief chapter of your life, and with laser precision, you’re gonna communicate that choice to the kind human charged with conveying the gastronomic goods to your gullet. 

“You won’t even need to look at the menu. It’s a New York Diner! They’ve got everything stuffed into that Mary Poppins bag of a kitchen.

“Now go!”

And before I walk into the diner, the decision’s clear:

Some kind of cheeseburger, fries, and a fizzy water.

Speaking of daunting choices, one of the most paralyzing sentences a singing actor can hear is, “Just sing something that shows us who you are.”

It ranks up there with, “Ok, now be funny.”

Um, so you want me to select a song from the standard musical theatre canon that displays the depth and breadth of my multifaceted humanity?

No prob. Here’s that timeless chestnut from Guys and Dolls, “Take Back Your Mink.”

Auditioning is full of opportunities for second guessing, self doubt, and what I call the brain beehive.

They’re casting Carousel, but I’m kinda right for Beautiful, too. And there’s that track in The Prom, but what if I target Godspell? I know. I’ll sing “I Feel the Earth Move” as Carrie Pipperidge in the style of “Magic to Do.” It’ll make all the sense in the world! ?

Telling someone to sing something that shows who they are is like telling a freelancer to “charge their value.”

You can’t charge your value. You’re invaluable.

And when it comes to showing table people who you are, Walt Whitman already said it: “You contain multitudes.”

So, what do you do?

Here’s a list of questions you can ask yourself to make song selection straightforward. (Also works for monologues, one-person shows, and purchases at Target.)

1. Do you love the song? 

Even if you’re a little tired of it, do you have an enduring appreciation and commitment to this tune?

Do you love the text, the story, the melody, the orchestration, its structure, and what you know about its history? This has to be a hell yes before you proceed.

2. Do you love how you sing the song?

Does the song fit you? Are you confident you can sing it with skill and warmth on any reasonably healthy day? Does it highlight the sparkly special features of your voice? Yes? Keep going.

3. Is the song a good choice for the thing your auditioning for? 

If you’re going in for a general meeting, the first two questions will go a long way in helping you choose material that’ll lead to a satisfying experience for everybody in the room.

If you’re going in for a specific show or role, ask yourself —

Is this in the same stylistic world as the show?

Does this solve a specific casting problem? (i.e. I’m singing “The Man That Got Away” with Sally Bowles in mind.)

Is this song familiar enough? You want the table people to pay attention to you singing the song, not the song itself. 

4. If you’re asked to sing a cut, and you’re almost always asked to sing a cut, keep these things in mind:

Structure your cut with a logical beginning, middle, and end.

Craft your beginning so that it establishes you in the world of the song (short intro or starting pitch).

No matter your character’s arc in the cut, remember it’s a loving act to share this story.

Make sure the ending is satisfying and clear.

If you choose material you love, that you sing well, and you’re solving a casting problem, you’re on your way.

If you fill your singing with specificity and open your heart, the only thing that can happen is that you share the fullness of who you are. It feels a lot like nothing, so that’s why it’s so tricky.

If you’ve answered the above questions well, your song choice itself isn’t going to make or break an audition. If you realize a tune doesn’t work the way you predicted, there are thousands more songs. You can make a new choice. 

If it’s you showing up in the song, if you’ve done your work, and you open the door of your heart, the depth and breadth of you will glimmer like the multifaceted jewel you are. 

Because it’s objectively and scientifically true:

There’s only one you, and folks need to hear the story only you can sing.

Love much,

Dan

PS Speaking of audition help, you’re not going to find a more clarifying, actionable, empowering, and useful resource than Audition Psych 101. Led by seasoned actor, author, and one-time world’s worst auditoner Michael Kostroff, there’s now an online course version of it. Also a book.

I took his workshop in LA probably 15 years ago when it was Micheal with a stack of index cards in a little theater in Hollywood. I carry so many things I learned from that workshop with me and share them with students now. 

Get in his universe and turn auditioning into an exciting and joyful experience. It’s completely possible.

PPS You need help with anything? How about how to pick a song? 🙂 …

…or solving that breathing thing or that vibrato thing or that belting thing or that fatigue thing or that what the hell am I even doing with my artistic life thing? I’m here for you. Book a free session with me. Yep. Free. For a lil while, anyway. Summer’s here and I want to help you out. 

Just go to my public calendar and sign up for a time. Whether you’ve worked with me before or not, take advantage of this. I’ll help you out. 

Seriously, a free half hour where you can tell me your singing troubles, I’ll give you some things to do and probably mention your pharynx, and you’ll have tools, and that thing will get better. Do it! It’s a no brainer. 

Sign up here, or bookmark my calendar URL: https://fons.app/@dancallawaystudio/book

And look! the NY Diner Menu explained: