What we work on

• Acting the song. Every musical theatre number is a scene. Who are you talking to, what do you want, why are you singing instead of speaking, and what changes between the first line and the last. Songs performed as songs are forgettable. Songs performed as scenes aren’t.
• Technique for a demanding style. Belting, mix, legit soprano, contemporary MT writing that sits deliberately in the hardest part of the voice. All of it can be done safely, and all of it can wreck a voice done badly. We build it on classical foundations so you can do eight shows a week without losing the voice by Wednesday.
• Repertoire. Building an audition book that shows range — a ballad and an uptempo, a legit and a contemporary piece, all genuinely suited to your voice and your casting. Most people’s book is three songs they liked when they were fifteen.
• Character and text. Script work alongside the songs, because the dialogue between the numbers is where the character is established.
• Auditioning for musicals. Sixteen bars, the cut you choose, what it says about you, and how to walk in and out well. More on audition preparation →