DUETS for singers age 16-30 from the Hal Leonard Musical Theatre Anthology

SHOW SONG CHARACTER AGE VOICE ANTH.
Babes in Arms (interpolation) You’re Nearer Val/Susie 17-25/16-24 Duets #1
Carousel When the Children Are Asleep Mr. Snow and Carrie 16-21/18-28 Duets #1
Knickerbocker Holiday It Never Was You Brom and Tina 20-30/16-27 Duets #1
Knickerbocker Holiday Will You Remember Me Brom and Tina 20-30/16-27 Duets #1
Oklahoma! People Will Say We’re in Love Curley and Laurey 22-33/18-25 Duets #1
Show Boat Make Believe Gaylord and Magnolia 22-35/16-22 Duets #1
Show Boat You Are Love Gaylord and Magnolia 22-35/16-22 Duets #1
Street Scene We’ll Go Away Together Rose Maurrant and Sam Kaplan 16-24/18-27 Duets #1
The King and I I Have Dreamed Tuptim and Lun Tha 15-25/17-27 Duets #1
The King and I We Kiss in a Shadow Tuptim and Lun Tha 15-25/17-27 Duets #1
Call Me Madam You’re Just in Love Kenneth and Sally 23-35/40-65 Duets #2
Chicago Class Velma and Mama 25-40/30-50 Duets #2
Funny Girl You Are Woman, I Am Man Nick Arnstein and Fanny Brice 25-35/18-30 Duets #2
Guys and Dolls I’ll Know Sarah and Sky 18-30/26-38 Duets #2
Guys and Dolls Guys and Dolls Nicely and Benny 24-55 Duets #2
Miss Saigon The Last Night of the World Chris and Kim 21-28/16-23 Duets #2
Show Boat Why Do I Love You? Ravenal and Magnolia 22-35/16-22 Duets #2
Spamalot The Song That Goes Like This Sir Galahad and Lady of the Lake 21-35/? Duets #2
The Fantasticks They Were You Matt and Luisa 15-24/14-22 Duets #2
The Last Five Years The Next Ten Minutes Cathy and Jamie 25-33/26-36 Duets #2
The Phantom of the Opera All I Ask of You Christine and Raoul 18-28/23-35 Duets #2
Wicked What Is This Feeling? Elphaba and Glinda 20-34 Duets #2
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Songs for BARITONES age 16-30 from the Hal Leonard Musical Theatre Anthology

SHOW SONG CHARACTER AGE VOICE ANTH.
Anyone Can Whistle Everybody Says Don’t J. Bowden Hapgood 24-35 Baritone #1
Big River River in the Rain Huck/Jim 12-18/30-45 Baritone #1
Camelot Camelot Arthur 18-28 Baritone #1
Camelot How to Handle a Woman Arthur 18-28 Baritone #1
Camelot C’est Moi Lancelot 25-35 Baritone #1
Camelot If Ever I Would Leave You Lancelot 25-35 Baritone #1
Carousel If I Loved You Billy 25-35 Baritone #1
Carousel Soliloquy Billy 25-35 Baritone #1
Cinderella Do I Love You Because You’re Beautiful Prince 19-32 Baritone #1
Cinderella Ten Minutes Ago Prince 19-32 Baritone #1
Oklahoma! Oh, What a Beautiful Mornin’ Curly 22-33 Baritone #1
Oklahoma! The Surrey with the Fringe on Top Curly 22-33 Baritone #1
Paint Your Wagon They Call the Wind Maria Steve 25-60 Baritone #1
Annie Get Your Gun My Defenses Are Down Frank 25-40 Baritone #2
Annie Get Your Gun The Girl That I Marry Frank 25-40 Baritone #2
Anything Goes All Through the Night Billy Crocker 21-36 Baritone #2
Carousel The Highest Judge of All Billy 25-35 Baritone #2
Knickerbocker Holiday There’s Nowhere to Go But Up Brom 20-30/? Baritone #2
Les Miserables Empty Chairs at Empty Tables Marius 20-28 Baritone #2
Me and My Girl Leaning on a Lamp Post Bill 25-35 Baritone #2
Merrily We Roll Along Good Thing Going Charley 25-45 Baritone #2
On the Town Lonely Town Gabey 18-30 Baritone #2
Promises, Promises Promises, Promises Chuck 25-35 Baritone #2
The Boys from Syracuse This Can’t Be Love Antipholus of Syracuse 20-30 Baritone #2
The Most Happy Fella Joey, Joey, Joey Joe 25-35 Baritone #2
The Unsinkable Molly Brown I’ll Never Say No Johnny “Leadville” Brown 25-40 Baritone #2
Where’s Charley? Once in Love with Amy Charley 21-24 Baritone #2
Beauty and the Beast If I Can’t Love Her Beast 21-35 Baritone #3
Beauty and the Beast Me Gaston 23-36 Baritone #3
Beauty and the Beast Gaston LeFou 25-35 Baritone #3
Cabaret Don’t Go Cliff 25-35 Baritone #3
Closer Than Ever If I Sing Man 2 25-35 Baritone #3
On the Town Lucky to Be Me Gabey 18-30 Baritone #3
Titanic There She Is Barret 24-32 Baritone #3
Annie Get Your Gun I’m a Bad, Bad Man Frank 25-40 Baritone #4
Avenue Q What Do You Do with a B.A. in English Princeton 23-28 Baritone #4
Big River Waitin’ for the Light to Shine Huck 12-18 Baritone #4
Bye Bye Birdie A Lot of Livin’ to Do Conrad 21-30 Baritone #4
Camelot I Wonder What the King Is Doing Tonight Arthur 18-28 Baritone #4
Grease Greased Lightnin’ Kenickie 17-21 Baritone #4
Joseph and the Amazing Technicolor Dreamcoat Those Canaan Days Simon 21-35 Baritone #4
Ragtime Make Them Hear You Coalhouse Walker 23-39 Baritone #4
The Wild Party I’ll Be Here Black 24-30 Baritone #4
Wish You Were Here Relax Teddy Stern 21-30 Baritone #4
You’re a Good Man Charlie Brown The Kite Charlie Brown 17-29 Baritone #4
Anyone Can Whistle With So Little to Be Sure Of J. Bowden Hapgood 24-35 Baritone #5
Avenue Q I Wish I Could Go Back to College Princeton 23-28 Baritone #5
Avenue Q Purpose Princeton 23-28 Baritone #5
Dreamgirls When I First Saw You Curtis 25-40 Baritone #5
Les Miserables Drink with Me (To Days Gone By) Marius/Grantaire 20-28/? Baritone #5
Rent Santa Fe Collins 20-30 Baritone #5
Seesaw It’s Not Where You Start David 22-35 Baritone #5
She Loves Me Try Me Arpad 17-26 Baritone #5
Spring Awakening All That’s Known Melchior 16-21 Baritone #5
The Unsinkable Molly Brown Colorado, My Home Johnny “Leadville” Brown 25-40 Baritone #5
Tick, Tick… Boom! Real Life Michael 25-33 Baritone #5
West Side Story Cool Riff 17-25 Baritone #5
West Side Story Jet Song Riff 17-25 Baritone #5
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Songs for TENORS age 16-30 from the Hal Leonard Musical Theatre Anthology

SHOW SONG CHARACTER AGE VOICE ANTH.
A Funny Thing Happened on the Way to the Forum Love, I Hear Hero 17-25 Tenor #1
Aspects of Love Seeing Is Believing Alex 17-34 Tenor #1
Celebration Fifty Million Years Ago Orphan 15-22 Tenor #1
Fanny Fanny Marius 17-28 Tenor #1
Finian’s Rainbow When I’m Not Near the Girl I Love Og 25-35 Tenor #1
Flower Drum Song You Are Beautiful Wang Ta 23-32 Tenor #1
Gypsy All I Need Is the Girl Tulsa 18-25 Tenor #1
Jesus Christ Superstar King Herod’s Song Herod 25-65 Tenor #1
Kismet Stranger in Paradise Caliph 18-30 Tenor #1
Me and Juliet That’s the Way It Happens Jeanie 18-28 Tenor #1
Me and Juliet The Big Black Giant Larry 25-35 Tenor #1
My Fair Lady On the Street Where You Live Freddy 20-32 Tenor #1
Oklahoma! Kansas City Will 25-35 Tenor #1
Once Upon a Mattress Many Moons Ago Minstrel 20-35 Tenor #1
South Pacific You’ve Got to Be Carefully Taught Cable 22-33 Tenor #1
South Pacific Younger Than Springtime Cable 22-33 Tenor #1
Street Scene Lonely House Sam Kaplan 18-27 Tenor #1
Sunday in the Park with George Finishing the Hat George 25-35 Tenor #1
Sweeney Todd Johanna Anthony 20-30 Tenor #1
Sweeney Todd Not While I’m Around Anthony 20-30 Tenor #1
Wish You Were Here Wish You Were Here Chick Miller 23-30 Tenor #1
Call Me Madam Once Upon a Time Today Kenneth 23-35 Tenor #2
Carousel Geraniums in the Winder Enoch Snow 22-32 Tenor #2
Evita High Flying, Adored Che 21-35 Tenor #2
Evita On This Night of a Thousand Stars Magaldi 23-35 Tenor #2
Fiddler on the Roof Miracle of Miracles Motel 18-27 Tenor #2
Flower Drum Song Like a God Wang Ta 23-32 Tenor #2
Godspell All Good Gifts Lamar 18-32 Tenor #2
Grand Hotel Love Can’t Happen Baron/Grushinskaya 25-40/25-40 Tenor #2
Grease Alone at the Drive-In Movie Danny/Burger 17-21 Tenor #2
Guys and Dolls Sit Down You’re Rockin’ the Boat Nicely 24-55 Tenor #2
How to Succeed in Business Without Really Trying I Believe in You Finch 18-30 Tenor #2
Jesus Christ Superstar I Only Want to Say (Gethsemane) Jesus 25-35 Tenor #2
Joseph and the Amazing Technicolor Dreamcoat Close Every Door Joseph 18-28 Tenor #2
Milk and Honey I Will Follow You David 23-34 Tenor #2
Miss Saigon Why God Why? Chris 21-28 Tenor #2
On a Clear Day You Can See Forever She Wasn’t You Edward 25-35 Tenor #2
She Loves Me She Loves Me Georg 24-30 Tenor #2
She Loves Me Tango Tragique Georg 24-30 Tenor #2
She Loves Me Tonight at Eight Georg 24-30 Tenor #2
The Apple Tree Forbidden Fruit Snake 25-40 Tenor #2
The Secret Garden Winter’s on the Wing Dickon 16-28 Tenor #2
Footloose I Can’t Stand Still Ren 14-19 Tenor #3
Footloose Mama Says Willard 14-19 Tenor #3
Joseph and the Amazing Technicolor Dreamcoat Any Dream Will Do Joseph 18-28 Tenor #3
Kismet Night of My Nights Caliph 18-30 Tenor #3
Martin Guerre I’m Martin Guerre Martin Guerre 25-35 Tenor #3
Parade The Old Red Hills of Home Young Confederate Soldier 16-22 Tenor #3
Pippin Corner of the Sky Pippin 18-30 Tenor #3
Rent One Song Glory Roger 20-30 Tenor #3
Rent Your Eyes Roger 20-30 Tenor #3
Sunset Boulevard Sunset Boulevard Joe 23-34 Tenor #3
The Pirates of Penzance Oh, Is There Not One Maiden Breast Frederic 21 Tenor #3
Titanic Barrett’s Song Frederick Barrett 24-32 Tenor #3
Titanic The Proposal Barret 24-32 Tenor #3
A Chorus Line I Can Do That Mike 19-29 Tenor #4
Aspects of Love Love Changes Everything Alex 17-34 Tenor #4
Avenue Q If You Were Gay Nicky/Rod 24-35/24-32 Tenor #4
Hairspray It Takes Two Link 18-22 Tenor #4
Into the Woods Giants in the Sky Jack 13-19 Tenor #4
Jesus Christ Superstar Heaven on Their Minds Judas 21-40 Tenor #4
The Full Monty You Walk With Me Ethan/Malcom 25-35/30-40 Tenor #4
The Kiss of the Spider Woman The Day After That Valentin 25-35 Tenor #4
The Light in the Piazza Love to Me Fabrizio 20 Tenor #4
The Lion King Endless Night Simba 16-30 Tenor #4
The Music Man Shipoopi Marcellus 25-45 Tenor #4
The Wild Party Let Me Drown Burrs 25-35 Tenor #4
The Wild Party What Is It About Her? Burrs 25-35 Tenor #4
Wicked Dancing Through Life Fiyero 20-35 Tenor #4
You’re a Good Man Charlie Brown Beethoven Day Shroeder 16-29 Tenor #4
Barnum Bigger Isn’t Better Tom Thumb 18-50 Tenor #5
Children of Eden Lost in the Wilderness Cain 17-21 Tenor #5
City of Angels Stay with Me Jimmy Powers 21-45 Tenor #5
Dirty Rotten Scoundrels Great Big Stuff Freddy 25-40 Tenor #5
Godspell Alas for You Jesus 25-35 Tenor #5
Grease Mooning Roger 15-19 Tenor #5
Grey Gardens Body Beautiful Beale (off-B only) Gould 20-30 Tenor #5
Grey Gardens Drift Away Gould 20-30 Tenor #5
Jersey Boys Can’t Take My Eyes Off of You Frankie Valli 17-26 Tenor #5
Jersey Boys December 1963 (Oh, What a Night) Bob Gaudio 21-35 Tenor #5
Little Women Take a Chance on Me Laurie 16-22 Tenor #5
Movin’ Out She’s Got a Way Tony 18-50 Tenor #5
Movin’ Out Summer, Highland Falls Eddie/Tony 18-50 Tenor #5
Rent What You Own Mark and Roger 20-30 Tenor #5
Spring Awakening Left Behind Melchior 16-21 Tenor #5
Tarzan Strangers Like Me Tarzan 18-22 Tenor #5
Tarzan Two Worlds Tarzan 18-22 Tenor #5
The Drowsy Chaperone I Am Aldolpho Adolpho 25-40 Tenor #5
The Light in the Piazza Il mondo era vuoto Fabrizio 20 Tenor #5
The Light in the Piazza Passeggiata Fabrizio 20 Tenor #5
The Pirate Queen I’ll Be There Tiernan 20-30 Tenor #5
Thoroughly Modern Millie What Do I Need with Love Jimmy 21-35 Tenor #5
Urban Cowboy It Don’t Get Better Than This Bud 25-35 Tenor #5
West Side Story Maria Tony 18-25 Tenor #5
West Side Story Something’s Coming Tony 18-25 Tenor #5
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Songs for MEZZOS age 16-30 from the Hal Leonard Musical Theatre Anthology

SHOW SONG CHARACTER AGE VOICE ANTH.
A Little Night Music The Miller’s Son Petra 18-25 Mezzo #1
Annie Get Your Gun Doin’ What Comes Natur’lly Annie 22-33 Mezzo #1
Annie Get Your Gun I Got the Sun in the Morning Annie 22-33 Mezzo #1
Anyone Can Whistle Anyone Can Whistle Fay Apple 21-32 Mezzo #1
Cabaret Don’t Tell Mama Sally 18-28 Mezzo #1
Chicago Funny Honey Roxy 20-30 Mezzo #1
Cinderella Stepsisters’ Lament Stepsisters 15-28 Mezzo #1
Evita Don’t Cry for Me Argentina Eva 16-30 Mezzo #1
Finian’s Rainbow How Are Things in Glocca Morra Sharon 18-28 Mezzo #1
Finian’s Rainbow Look to the Rainbow Sharon 18-28 Mezzo #1
Flower Drum Song I Enjoy Being a Girl Linda 25-35 Mezzo #1
Gentlemen Prefer Blondes Diamonds Are a Girl’s Best Friend Lorelei 19-28 Mezzo #1
Godspell Turn Back, O Man Sonia 20-32 Mezzo #1
How to Succeed in Business Without Really Trying Happy to Keep His Dinner Warm Rosemary Pilkington 18-30 Mezzo #1
Kiss Me, Kate Always True to You in My Fashion Lois 21-33 Mezzo #1
Kiss Me, Kate Why Can’t You Behave? Lois 21-33 Mezzo #1
Oklahoma! I Cain’t Say No Ado Annie 18-25 Mezzo #1
On a Clear Day You Can See Forever He Wasn’t You Daisy Gamble 20-26 Mezzo #1
On a Clear Day You Can See Forever What Did I Have That I Don’t Have? Daisy Gamble 20-26 Mezzo #1
South Pacific A Cock-Eyed Optimist Nellie 18-27 Mezzo #1
South Pacific I’m in Love with a Wonderful Guy Nellie 18-27 Mezzo #1
The Unsinkable Molly Brown I Ain’t Down Yet Molly Tobin 16-30 Mezzo #1
Allegro The Gentleman Is a Dope Emily 20-39 Mezzo #2
Anyone Can Whistle There Won’t Be Trumpets Fay Apple 21-32 Mezzo #2
Babes in Arms I Wish I Were in Love Again Terry 16-24 Mezzo #2
Bells Are Ringing Long Before I Knew You Ella 25-35 Mezzo #2
Bells Are Ringing The Party’s Over Ella 25-35 Mezzo #2
Company Another Hundred People Marta 25-35 Mezzo #2
Evita I’d Be Surprisingly Good for You Eva 16-30 Mezzo #2
Funny Girl The Music That Makes Me Dance Fanny Brice 18-30 Mezzo #2
Grease Look at Me, I’m Sandra Dee Rizzo 17-21 Mezzo #2
I Can Get It for You Wholesale Who Knows Ruthie Rivkin 20-30 Mezzo #2
Les Miserables On My Own Eponine 14-21 Mezzo #2
Les Miserables I Dreamed a Dream Fantine 21-30 Mezzo #2
Me and Juliet We Deserve Each Other Betty 21-30 Mezzo #2
Merrily We Roll Along Now You Know Mary 25-45 Mezzo #2
Oliver! As Long as He Needs Me Nancy 21-32 Mezzo #2
On the Town I Can Cook Too Hildy Esterhazy 25-35 Mezzo #2
Once Upon a Mattress Shy Winnifred 16-25 Mezzo #2
Sunday in the Park with George Everybody Loves Louis Dot 22-30 Mezzo #2
The Secret Garden Hold On Martha 18-30 Mezzo #2
They’re Playing Our Song If He Really Knew Me Sonia 25-35 Mezzo #2
Victor/Victoria Paris Makes Me Horny Norma 23-35 Mezzo #2
Annie Get Your Gun They Say It’s Wonderful Annie 22-33 Mezzo #3
Annie Get Your Gun You Can’t Get a Man with a Gun Annie 22-33 Mezzo #3
Beauty and the Beast A Change in Me Belle 16-27 Mezzo #3
Cabaret Mein Herr Sally 18-28 Mezzo #3
Chicago Class Velma/Mama 25-40/30-50 Mezzo #3
Funny Girl Don’t Rain on My Parade Fanny Brice 18-30 Mezzo #3
I Can Get It for You Wholesale Miss Marmelstein Miss Marmelstein 25-40 Mezzo #3
I Love You, You’re Perfect, Now Change Always a Bridesmaid Jennifer 20-30 Mezzo #3
Jekyll & Hyde A New Life Lucy Harris 20-35 Mezzo #3
Jekyll & Hyde Someone Like You Lucy Harris 20-35 Mezzo #3
Leave It to Me My Heart Belongs to Daddy Dolly Winslow 20-30 Mezzo #3
Miss Saigon I’d Give My Life for You Kim 16-23 Mezzo #3
South Pacific Honey Bun Nellie 18-27 Mezzo #3
You’re a Good Man Charlie Brown My New Philosophy Sally 15-25 Mezzo #3
A Star Is Born The Man That Got Away Ester Blodgett 18-27 Mezzo #4
Aida I Know the Truth Amneris 18-30 Mezzo #4
Aida The Past Is Another Land Aida 19-29 Mezzo #4
Annie Get Your Gun I Got Lost in His Arms Annie 22-33 Mezzo #4
Aspects of Love Anything But Lonely Rose 23-30 Mezzo #4
Avenue Q There’s a Fine, Fine Line Kate 22-30 Mezzo #4
Beautiful Game Our Kind of Love Christine 16-20 Mezzo #4
Bells Are Ringing I’m Going Back Ella 25-35 Mezzo #4
Chicago Roxie Roxie 20-30 Mezzo #4
Chicago Nowadays Velma/Roxie 25-40/20-30 Mezzo #4
Grease There Are Worse Things I Could Do Rizzo 17-21 Mezzo #4
Hairspray I Can Hear the Bells Tracy 14-19 Mezzo #4
Jesus Christ Superstar I Don’t Know How to Love Him Mary 18-30 Mezzo #4
Spamalot Whatever Happened to My Part? Lady of the Lake 25-45 Mezzo #4
The Best Little Whorehouse in Texas Hard Candy Christmas Girls of the “house” 18-35 Mezzo #4
The Last Five Years See, I’m Smiling Cathy 25-33 Mezzo #4
The Last Five Years Still Hurting Cathy 25-33 Mezzo #4
The Lion King Shadowland Nala 16-25 Mezzo #4
The Producers When You Got It, Flaunt It Ulla 18-30 Mezzo #4
The Wild Party How Did We Come to This? Queenie 23-32 Mezzo #4
The Wild Party Look at Me Now Kate 23-35 Mezzo #4
Thoroughly Modern Millie Gimme Gimme Millie 18-30 Mezzo #4
Wicked I’m Not That Girl Elphaba 20-34 Mezzo #4
Wicked Popular Glinda 20-34 Mezzo #4
Wicked The Wizard and I Elphaba 20-34 Mezzo #4
Wish You Were Here Shopping Around Fay Fromkin 21-30 Mezzo #4
Wonderful Town One Hundred Easy Ways to Lose a Man Ruth 24-31 Mezzo #4
A Little Princess Live Out Loud Sara Crewe 11-14 Mezzo #5
Ain’t Misbehavin’ Keepin’ Out of Mischief Now Charlaine 18-30 Mezzo #5
Bells Are Ringing It’s a Perfect Relationship Ella 25-35 Mezzo #5
Dirty Rotten Scoundrels Here I Am Christine 20-35 Mezzo #5
Dreamgirls And I Am Telling You I’m Not Going Effie 20-30 Mezzo #5
Dreamgirls I Am Changing Effie 20-30 Mezzo #5
Grease Freddy, My Love Marty 15-19 Mezzo #5
Hairspray Good Morning Baltimore Tracy 14-19 Mezzo #5
On a Clear Day You Can See Forever Hurry! It’s Lovely Up Here! Daisy Gamble 20-26 Mezzo #5
Rent Without You Mimi 18-26 Mezzo #5
Spamalot Find Your Grail Lady of the Lake 25-45 Mezzo #5
Spring Awakening Mama Who Bore Me Wendla 16-21 Mezzo #5
Spring Awakening The Dark I Know Well Martha/Ilse 16-21 Mezzo #5
The Color Purple Too Beautiful for Words Shug 25-40 Mezzo #5
The Drowsy Chaperone Show Off Janet 20-35 Mezzo #5
The Last Five Years I Can Do Better Than That Cathy 25-33 Mezzo #5
The Last Five Years When You Come Home to Me Cathy 25-33 Mezzo #5
The Pirate Queen Woman Grace O’Malley 18 Mezzo #5
Thoroughly Modern Millie Not for the Life of Me Millie 18-30 Mezzo #5
Tick, Tick…Boom! Come to Your Senses Karessa 25-33 Mezzo #5
Wicked Defying Gravity Elphaba 20-34 Mezzo #5
Wicked For Good Elphaba 20-34 Mezzo #5
Working It’s an Art Delores 21-35 Mezzo #5
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Songs for SOPRANOS age 16-30 from the Hal Leonard Musical Theatre Anthology

SHOW SONG CHARACTER AGE VOICE ANTH.
A Funny Thing Happened on the Way to the Forum That’ll Show Him Philia 16-24 Soprano #1
Camelot I Loved You Once in Silence Guenevere 16-24 Soprano #1
Camelot The Simple Joys of Maidenhood Guenevere 16-24 Soprano #1
Carousel If I Loved You Julie 16-28 Soprano #1
Carousel Mister Snow Carrie 16-28 Soprano #1
Carousel What’s the Use of Wond’rin’ Julie 16-28 Soprano #1
Celebration Under the Tree Angel 18-30 Soprano #1
Cinderella Ten Minutes Ago Cinderella 17-28 Soprano #1
Fiddler on the Roof Far from the Home I Love Hodel 17-24 Soprano #1
Me and Juliet No Other Love Jeanie 18-28 Soprano #1
Merrily We Roll Along Not a Day Goes By Beth 21-30 Soprano #1
My Fair Lady I Could Have Danced All Night Eliza 17-30 Soprano #1
My Fair Lady Show Me Eliza 17-30 Soprano #1
Oklahoma! Many a New Day Laurey 18-25 Soprano #1
Oklahoma! Out of My Dreams Laurey 18-25 Soprano #1
On Your Toes Glad to Be Unhappy Frankie/Sidney 20-25/20-36 Soprano #1
Show Boat Can’t Help Lovin’ Dat Man Magnolia 16-22 Soprano #1
Street Scene What Good Would the Moon Be? Rose Maurrant and Sam Kaplan 16-24/18-27 Soprano #1
Sweeney Todd Green Finch and Linnet Bird Johanna 16-21 Soprano #1
The Boys from Syracuse Falling in Love with Love Adriana 18-28 Soprano #1
The Fantasticks Much More Luisa 14-22 Soprano #1
The King and I My Lord and Master Tuptim 15-25 Soprano #1
The Most Happy Fella Somebody, Somewhere Rosabella 25-34 Soprano #1
The Music Man Goodnight, My Someone Marian 25-40 Soprano #1
The Music Man My White Knight Marian 25-40 Soprano #1
The Music Man Till There Was You Marian 25-40 Soprano #1
The Threepenny Opera Barbara Song Polly 17-27 Soprano #1
The Threepenny Opera Pirate Jenny Polly 17-27 Soprano #1
The Threepenny Opera Solomon Song Jenny 25-35 Soprano #1
Allegro So Far Beulah 21-40 Soprano #2
Anything Goes All Through the Night Hope Harcourt 21-32 Soprano #2
Anything Goes The Gypsy in Me Hope Harcourt 21-32 Soprano #2
Evita Another Suitcase in Another Hall Peron’s Mistress 14-18 Soprano #2
Fiorello! When Did I Fall in Love Thea 25-50 Soprano #2
Guys and Dolls I’ll Know Sarah 18-30 Soprano #2
Guys and Dolls If I Were a Bell Sarah 18-30 Soprano #2
Kismet And This Is My Beloved Caliph 18-30 Soprano #2
Me and Juliet A Very Special Day Jeanie 18-28 Soprano #2
My Fair Lady Without You Eliza 17-30 Soprano #2
Phantom My True Love Christine 18-28 Soprano #2
Philemon The Greatest of These Marsyas?? 25-35 Soprano #2
The Merry Widow Vilia Hanna Glawari 20-30 Soprano #2
The Most Happy Fella Like a Woman Loves a Man Rosabella 25-34 Soprano #2
The Most Happy Fella Warm All Over Rosabella 25-34 Soprano #2
The Mystery of Edwin Drood Moonfall Rosa 19-34 Soprano #2
The Mystery of Edwin Drood Rosa’s Confession Rosa 19-34 Soprano #2
The Sound of Music The Sound of Music Maria 21-32 Soprano #2
Brigadoon Waitin’ for My Dearie Fiona 18-30 Soprano #3
Camelot Before I Gaze at You Again Guenevere 16-24 Soprano #3
Chicago A Little Bit of Good Mary Sunshine 25-55 Soprano #3
Cinderella In My Own Little Corner Cinderella 17-28 Soprano #3
Evening Primrose I Remember Ella 17-21 Soprano #3
Hello, Dolly! Ribbons Down My Back Irene 18-30 Soprano #3
Jekyll & Hyde In His Eyes Lucy/Emma 20-35/21-32 Soprano #3
Jekyll & Hyde Once Upon a Dream Emma Carew 21-32 Soprano #3
Knickerbocker Holiday It Never Was You Tina 16-27 Soprano #3
Les Miserables In My Life Cosette 18-25 Soprano #3
Lost in the Stars Stay Well Irina 18-28 Soprano #3
Lost in the Stars Trouble Man Irina 18-28 Soprano #3
Martin Guerre How Many Tears? Bertrande 21-32 Soprano #3
Me and My Girl Once You Lose Your Heart Sally 22-33 Soprano #3
My Fair Lady Just You Wait Eliza 17-30 Soprano #3
My Fair Lady Wouldn’t It Be Loverly Eliza 17-30 Soprano #3
On Your Toes There’s a Small Hotel Frankie 20-25 Soprano #3
The Apple Tree Feelings Eve 18-30 Soprano #3
The Phantom of the Opera Think of Me Christine 18-28 Soprano #3
The Phantom of the Opera Wishing You Were Somehow Here Again Christine 18-28 Soprano #3
The Sound of Music My Favorite Things Maria 21-32 Soprano #3
Where’s Charley? The Woman in His Room Amy 20-24 Soprano #3
1776 He Plays the Violin Martha Jefferson 20′s Soprano #4
A Date with Judy It’s a Most Unusual Day film 15-19 Soprano #4
Beauty and the Beast Home Belle 16-27 Soprano #4
Bye Bye Birdie How Lovely to Be a Woman Kim 14-17 Soprano #4
Bye Bye Birdie One Boy Kim 14-17 Soprano #4
Cinderella A Lovely Night Cinderella 17-28 Soprano #4
Drat! The Cat! I Like Him Alice 17-23 Soprano #4
Fanny I Have to Tell You Fanny 16-25 Soprano #4
Flora, the Red Menace A Quiet Thing Flora 18-24 Soprano #4
Into the Woods On the Steps of the Palace Cinderella 17-26 Soprano #4
Into the Woods Children Will Listen Witch 25+ Soprano #4
Music in the Air The Song Is You Sieglinde 16-22 Soprano #4
Phantom Home Christine 18-28 Soprano #4
Rags Children of the Wind Rebecca 25-35 Soprano #4
Ragtime Your Daddy’s Son Sarah 18-30 Soprano #4
Show Boat Make Believe Magnolia 16-22 Soprano #4
Show Boat Why Do I Love You? Magnolia 16-22 Soprano #4
Spamalot The Song That Goes Like This Lady of the Lake 25-45 Soprano #4
Sweet Adeline Why Was I Born? Adeline 18-26 Soprano #4
The Boy Friend I Could Be Happy with You Polly 14-17 Soprano #4
The King and I I Have Dreamed Tuptim 15-25 Soprano #4
The King and I We Kiss in a Shadow Tuptim 15-25 Soprano #4
The Light in the Piazza The Light in the Piazza Clara 26 Soprano #4
The New Moon Lover, Come Back to Me Marianne 20-25 Soprano #4
Urinetown Follow Your Heart Hope Caldwell 18-25 Soprano #4
Wonderful Town A Little Bit in Love Eileen 20-25 Soprano #4
Barnum Love Makes Such Fools of Us All Jenny Lind 23-45 Soprano #5
Candide Glitter and Be Gay Cunegonde 20-30 Soprano #5
Dirty Rotten Scoundrels Nothing Is Too Wonderful to Be True Christine 20-35 Soprano #5
Do Re Mi Cry Like the Wind Tilda Mullen 17-22 Soprano #5
Fiddler on the Roof Matchmaker Tzeitel/Hodel/Chava 14-18 Soprano #5
Funny Face He Loves and She Loves Frankie 16-19 Soprano #5
Grey Gardens Around the World Edie 21 Soprano #5
Grey Gardens Daddy’s Girl Edie 21 Soprano #5
Grey Gardens Another Winter in a Summer Town Edie/Edith 21/47 Soprano #5
Jubilee Begin the Beguine Karen O’Kane 20-30 Soprano #5
Kismet Baubles, Bangles and Beads Marsinah 16-22 Soprano #5
Lady, Be Good! Fascinating Rhythm Susie Trevor 18-25 Soprano #5
Lady, Be Good! The Man I Love (cut from the show) Susie Trevor 18-25 Soprano #5
Little Women Some Things Are Meant to Be Beth/Jo 16-22/16-22 Soprano #5
Mary Poppins Practically Perfect Mary 20-30 Soprano #5
Mr. President The Secret Service Leslie 20-25 Soprano #5
Oklahoma! People Will Say We’re in Love Laurey 18-25 Soprano #5
On the Twentieth Century Never Lily 25-35 Soprano #5
Peter Pan My House Wendy 11-14 Soprano #5
Peter Pan Who Am I? Wendy 11-14 Soprano #5
Rosalie How Long Has This Been Going On? Mary O’Brien 20-30 Soprano #5
Spring Awakening Whispering Wendla 16-21 Soprano #5
Sunset Boulevard Too Much in Love to Care Betty 21-27 Soprano #5
The Apple Tree What Makes Me Love Him? Eve 18-30 Soprano #5
The Drowsy Chaperone Bride’s Lament Janet 20-35 Soprano #5
The Light in the Piazza The Beauty Is Clara 26 Soprano #5
West Side Story I Feel Pretty Maria 14-20 Soprano #5
West Side Story Somewhere Soprano 16-20 Soprano #5
Wicked Let Us Be Glad Glinda 20-34 Soprano #5
Wicked Thank Goodness Glinda 20-34 Soprano #5
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How to Discover Your Type

What is type?

Type is one of the most troubling issues facing many young performers.  Type is a term the industry uses to define whether or not you physically look like someone who could realistically play a specific role.  In high school, students are asked to play characters of all different ages, looks, and socio-economic backgrounds.  The schools use costumes, make-up, and body language to make it work.  However, in the real world, there are so many actors available that its fairly easy to find whatever you are looking for.  If the casting director decides she wants a 6’1″ tall girl, with red hair, size 8 dress, and size 9 shoes – she will probably find her.  To help save time, casting directors use type as a way to describe what they want and eliminate what they don’t want before they waste time listening to people sing.  If you do not look like the type normally associated with the repertoire you will be singing, you will not be taken seriously.

Some examples:

Gaston in Beauty and the Beast:  Gaston is supposed to be a tall, strong, and manly.  When Disney is casting, the person has to be at least 6’1″.  When the audience comes to see the show, they have an expectation of the look and voice quality Gaston will have.  If you don’t fit the type, its fine to sing Gaston’s songs for fun, but don’t take them into an audition.  If you are 5’4” very skinny tenor and you take “Me” into an audition, you will confuse the panel and more than likely you will not be considered.  You may even get laughs, but not the kind of laughs you want.

Belle in Beauty in the Beast: Belle is supposed to beautiful, thin, and a soprano.  If you are a short, curvy mezzo, with short black hair and a nose ring, singing “Home” is not the best audition choice for you.  However, the material from “Angels, Punks, and Raging Queens” may suit you when many other girls can’t pull it off.

Type can seem limiting, but if you use it to your advantage, its liberating.  When you start targeting the roles you are good for instead of targeting every audition possible, you’ll more than likely find better success.

To find your type, read about the two different yet similar processes below and do the work yourself.  Once you have found songs that you think could work, take them to your teacher and acting coach.  Remember, even if you have the most beautiful soprano voice in the world, if you don’t look like a soprano no one will hire you.

Option One

#1:  Ask your friends/teachers what celebrities you remind them of and write down those names.  Ask your friends what words they would use to describe you and write them down.  Ask them if they were to cast you in their favorite movie, what character you would be, write it down.  After asking several people, you should hopefully start seeing some similarities.

#2:  Create a list with the most common terms your were given listed first.  Circle the 3 to 5 terms that feel most comfortable to you.

#3:  Research the celebrities your friends/teachers selected for you and write down the roles they have played in the past (TV, Film, Stage, and Musical).  After you have completed your list, cross of any of the roles that do not match the 3 to 5 terms you decided on in step #2

#4:  You now have a list of terms that describe you and a list of characters you could play based on the celebrities who are similar to you.  Begin looking through musical theatre synopses of the current Broadway and 0ff-Broadway shows online (start by using Wikipedia – this will require that you read, possibly a lot).  As you read, write down the names of roles that sound like they fit you based on your work in steps 1-3.

#5:  Look those characters up on YouTube.  Watch scenes and songs they appear in and start making a list of the roles that really interest you, and the songs that you like.

#6:  Using the book: The New Broadway Song Companion: An Annotated Guide to Musical Theatre Literature by Voice Type and Song Style by Michael P. DeVenney, look up the range, style, composer, date of composition, librettist, and songs of each character you could play.  Create a spreadsheet on your computer and begin filling in the information.  This is an ongoing list that you will refer back to for the rest of your career, so take a little bit of time to do it write.  If that idea doesn’t excite you, do it as you listen, it will make the time go by faster.  This is the list you will use anytime you need to choose a song for a lesson/class.  If the song does not appear in “The New Broadway Song Companion” you will need to dig around online for the information.  But you will eventually find it.

#7:  Using IBDB.com, look up each show and write down the names of the actresses/actors who played the roles you would play.  At the bottom of the page, select “Display Replacement Casts”.  Write down the names of all the other actresses/actors who played those roles.  Go back and search the name of each actress/actor and see what other roles they have played.  Go online and look up their personal websites and/or Wikipedia entries.  Write down the other roles they have played.  Go back to step #6 and repeat.  This process could repeat several times, so feel free to stop whenever you feel like you have enough to work with.

You will more than likely have too many songs to choose from rather than not enough after you have completed these steps.  This is not a bad thing.  You have the rest of your college career and early years in New York to sing these songs, pick the ones that seem most interesting to you now and start learning.  If you do this work, you will have a major leg up on your competition!

Option Two

First, answer the following questions:

What Voice Type are you?

What is your weight, height, eye color, hair color?

What age do you look (not what age you actually are)?

Who do people say you remind them of (celebrities)?

Then ask yourself and your friends which of the following descriptions they think fit you best (feel free to use others not on this list as well):

GUYS:  Bad Boy, Jock, Quirky, Nerdy, Brainy, Leading Man, Executive, Slacker, Poet, Artist, Effeminate Gay, Nice Guy, Blue Collar Worker, Con Man, Creepy Weird Guy, Salesman, Jokester, Criminal

WOMEN:  Princess, Bad Girl, Awkward/Gawky, Valley Girl, Girl-Next-Door, Ingenue, Little Sister, Brain, Psycho-ex-girlfriend, Moody Outcast, Leading Lady, Poet, Artist, Vixen, Woman in Charge, Lesbian, Trailer Trash, Airhead, Bimbo, Saleswoman, Criminal, Nun

Colleges and professional theatres are not interested in how well you can transform yourself; they’re most interested in how well you know yourself and how well you can sell YOU.  You may find that you can play more than one type and that’s fine, but for this project, let’s narrow it down to 3-5 choices.  Take your list of answers from above and create a summary using the examples below:

Belter, plays 18-25, 5’6″, 140lbs, Brown Hair, Green Eyes, look like an edgier Lea Michelle, fit Bad Girl, Vixen, Woman in Charge, Moody Outcast, Criminal type.

You now have an idea of where you do and don’t fit in.  While it may be hard to find the song that is absolutely perfect for you, it should be easy to see what’s absolutely NOT you.  You wouldn’t sing South Pacific, Beauty in the Beast, Elle in Legally Blonde, or Laurie in Oklahoma.  No matter how well you sing it, it’s not you.  Singing one of these songs will not represent who you are and will reflect negatively in your audition.

RESEARCH

Now that you know who you are and who you’re not, its time to do some work.  To start, visit http://www.stageagent.com  Select “PART FINDER”  Enter your age range “18-25″, choose F for female, for part size select “Lead, Supporting, Cameo”  for voice select “Belter and Mezzo” and under “Genre” select “Musical”.  For dance level start with N/A.

My search returns 12 pages of around 20 roles per page or almost 240 roles that fit your voice type.

If you decide you want to pay for a membership on this site, you can click on the character name and get a description for most roles.  Otherwise, make two lists:

1) Roles you know fit your type

2) Roles you don’t know at all – Be sure to include the name of the show next to the role name.

Next take the list of roles you don’t know and do two things:

1) Do a Yahoo or Google Image search for the name of the role, the show, and Broadway.  If you can’t find a Broadway production picture, then take off the “Broadway” and research for regional theatre photos.  Look at these photos to rule out obvious conflicts (i.e. Peppy Blonde Cheerleaders).  Remember the celebrity you looked up?  Think of that person while you’re going through this process and think to yourself, “Would I cast that celebrity in this role?”  If its a close yes, then it’s a role you should consider.  If the answer is a big NO, then you should probably skip that role.  The celebrity element doesn’t have to be the complete deciding factor, but it can help sometimes to take yourself out of the picture and put someone else in there who you can watch in various roles and has so far been successful at selling themselves as a type.

2)  Take whatever’s left and look up the show synopsis on Wikipedia and http://www.GuideToMusicalTheatre.com  While reading, you will get an idea if the character is close to your type or not.  If they are, highlight the role and write a short description next to it.  If the page on either of these sites includes songs that the character sings, write them down.  If the description mentions the name of the actress who debuted the role or other actresses who have played the role, write them down as well.  Also write down the year the show was written (some colleges ask for specific time periods to be represented).  If the character is completely wrong, cross it off.

RESULTS

You should now have a decent list of characters you could play.  If you’re lucky, you also have a decent list of songs that belong to each character.  For the roles you don’t have songs identified for, you have two options.

1)  Buy the Book “The New Broadway Song Companion” by David P. DeVenney.  This is a great resource you will use for years to come.  It lists most Broadway shows and many off-Broadway show telling you who sings each song, what vocal part it is, what the range is, and whether its a Ballad, Uptempo, Character, etc.

2)  Get on YouTube and type in the name of the Character and the Show and see what comes up.  As you do this, make notes on the songs you like and cross off the ones you don’t.  If its a duet or ensemble don’t necessarily count it out, you can always take a 16-32 bar cut from any song, your not only looking for strictly solo numbers.

If you chose #1 above, look up all the songs on YouTube, or do a 30-60 second preview on iTunes.  Either way, make notes on what you do and don’t like.

 

Still not having luck?

Go to http://www.ibdb.com. This site lists almost every musical and who played what part.  Take some of the names you wrote down above from Wikipedia and see what other roles they played.  You can also look up a show that has a role you like but maybe not the right song.  Click on the name of the actress who played that part and see what other roles they played.  Also scroll down to the bottom of the page and click on “Display replacement and/or transfer information”.  This will bring up a list of other actors/actresses who played the role.  Click on their names as well and see what other roles they’ve played.  Since this site only lists Broadway credits, you may also want to Google them, find their personal website, or look them up on Wikipedia and see what else they’ve done Regionally, on Tour, off-Broadway, and in concert.  Use the tools introduced above (looking up production photos, Wikipedia, YouTube, etc.) and see if this leads you anywhere.  It may take time, but you’ll find something.

Making a Choice

By this time, you should have a great list of possibilities.  You are looking for something that grabs the audition panel’s attention.  Think positive.  Audition panels hear too many ballads; after 10 in a row it gets depressing.  When someone comes in and lights up the room with a positive, upbeat, funny, or uplifting song it makes them standout (note: that does NOT mean to overact).  Try to pick songs that engage another character, try to avoid songs that are about memories.

Most auditions will ask for an up-tempo and a ballad.  If you’re a female, I suggest showing both your belt and mix or head voice.  Up-tempos tend to be easier to belt and ballads tend to be better for mix/head.  I do however hear women who can do the opposite and it works great as well.

Try to avoid anything that seems overdone.  If there are 10,000 results on YouTube for one song and 250 for another, I’d suggest doing the 250 song.  Its less likely to be heard that day.  You don’t want to be confused with 10 other girls who sang the same song, you want to be the person with the great package that was really different.  At the same time, do not do something so rare that there is hardly a chance anyone in the audition room will know what it is.  They’ll spend more time trying to figure out if they know the song than playing attention to you.  Yes – its difficult, can be irritating, and often confusing.  Sorry, if it was easy, everyone would be a star.

Remember: most of all we want to like you.  So keep it simple, fun, and be real.

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Belting does not always mean screaming!

Everyone wants to belt and I don’t blame them.  Its modern singing.  No one really uses their classical singing voice in pop music anymore.  In fact, they haven’t for a really long time.  So why aren’t there more teachers teaching belting?  Because it scares them.  People think belting means screaming, but it doesn’t.  The most widely accepted definition of belting is carrying the chest register (in females that low manly voice) above its natural break (E to F above middle C) at a loud volume.  But how do we define loud volume?  No one has a standard answer.  But I can tell you this, its not screaming.  Screaming (i.e. pushing your voice to 110%) is not only a great way to give yourself vocal damage, but it also doesn’t sound good.  But young singers think that they have to belt to be good and therefore sing 110% almost the entire length of the song.  But professional belters don’t do that.  They do sing really loud sometimes, but not all of the time.  Otherwise, where’s the variation?  Where are the emotional ups and downs in the story?  Where is the build-up to the extreme high note we’ve all been waiting for?  If you sing at 110% the entire song, all of that is missing.  This is where a great vocal coach comes in handy.  Learning how to craft a song, how to delay the big power belt until the climax of the song, and learning how to use multiple colors of your voice are the right steps towards sounding like a pro.  Impressing people by taking your voice to 110 decibels (the volume level of a chainsaw) is not.  It just makes you sound like a chainsaw (and yes I have actually measured screamers at 105-110 decibels in my studio and I’m sorry but they sound like a machine not a human).  So watch these videos below, note how they craft their song and hold out on the big belt until certain special parts of the song.  Their voice does not sound classical the rest of the time, it sounds contemporary, talkative, and at times like a medium volume belt, because the true masters can get that belt like quality at medium volume as well as loud.

And by the way she can sing legit too!

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