taught by Judy Blazer, Kathy Morath, Mark Redanty and Christopher Stephens
(for bios see Teaching Artists page)
Kathy Morath and Judy Blazer will work with students, through improvisation and vocal study on their material which will then be compiled into a mini presentation for Mark Redanty of BRS/GAGE. The presentation will consist of two contrasting song cuts of varying vocal styles and periods from musical theater repertoire in between which will be a monologue connecting the two musical excerpts. This will allow the young artists a seamless performance of song into text and back into song, which will be less like a classic audition and more like a cohesive short scene.
The first two days will be spent with Kathy and Judy and, on the third day, Mark will critique each presentation in a classroom setting for the benefit of all the students.
March 21 - March 23
New York City
Space is limited to 15 participants
for an application and more information please email
Saturday, March 21
10:00am – 1:00pm
MONOLOGUE INVESTIGATION – Kathy Morath
By putting your stand-alone monologue into a fresh narrative structure with invented given circumstances, we hope to re-discover the nuance and authority which may be missing from your current interpretation. Please have prepared a one-to-two minute classical or contemporary monologue. Know the source material for the context of your piece.
2:00pm – 5:00pm
THE 16 BAR WORKSHOP – Judy Blazer and Christopher Stephens
A study of the best musical selections with which to present ourselves and how to artfully reduce them to a 16 bar cut, showing our voices, musicality, ability to perform a vocal number, including characterization and the communication of a lyric. These cuts are created with the intention of seeming more like a full length piece, with emotional development and a cohesive musical structure of beginning, middle and end, despite their brevity. We will work vocally, musically and physically to make these selections feel and seem like a complete performance, thus creating a focus which dispels audition nerves and presents the artists in a much deeper light.
Sunday, March 22
10:00am – 1:00pm
IMPROVISATION TECHNIQUES FOR SINGING ACTORS – Kathy Morath and Christopher Stephens
Utilizing improvisation exercises to help young singers get "out of their heads" and into "the moment", we will spend the entire class on our feet, working through exercises from a variety of Improvisation sources: the Groundlings, Del Close's Second City, Viola Spolin, and the Upright Citizen's Brigade, to name a few. Improvisation exercises ground the singing actor's imagination, sense of time, space and physical life in order to discover fresh approaches to Musical Theatre Performance. We'll end the class with a mini-performance.
2:00pm – 5:00pm
PRESENTATION PREP – Judy Blazer and Christopher Stephens
In conjunction with Kathy Morath’s improv and monologue classes, we will find two 16 bar cuts which will flank either side of the monologue selected and worked on by each student, very carefully “staged” as a mini presentation of a journey through song/monologue/song. This allows the performer to have some depth of emotional development rather than the usual fragmented, truncated cuts we use for auditions.
Monday, March 23
10:00am - 1:00pm
2:30pm – 5:30pm
AUDITION PRESENTATION – Mark Redanty
Mark Redanty will critique each presentation in a classroom setting for the benefit of all the students. He will discuss various elements of the performance from an acting and vocal standpoint, material selection, how best to represent oneself in auditions for theater, and the pursuit of representation. This consultation is not an audition for him or his agency, but is rather a session with him to better understand the audition process, particularly from the viewpoint of a talent agent.