THEATRE 5440: Advanced Acting: Musical Theatre/Auditions
Course Syllabus
Semester: Spring 2011 Instructor: Vanessa Ballam
Section: 0001 Office: FAC 139C
Time: MWF 10:30-12:20 Email: vanessa.ballam@usu.edu
Place: FAC 136 Office Hours: by appointment only
COURSE DESCRIPTION: Introduction to the history of the Musical Theatre, recognition of MT styles and analysis of Broadway
Composers and Lyricists. This course will focus on the Actor’s approach to Musical Theatre Performance and audition techniques.
Students will work on MT solos, duets and begin creating a Musical Theatre Audition Binder.
GOALS:
1) How to Sell a Song.
2) To Live truthfully within the imaginary circumstances of a Musical Theatre scene.
3) Choosing appropriate Musical Theatre Audition Material to showcase the individual artist.
4) Begin the process of creating an Audition Portfolio.
5) Preparation for work in the industry with the City Book.
REQUIRED TEXTS:
Broadway Musicals Show By Show: GREEN / SKU: 9781557837363
SUPPLEMENTAL READING: (Not required but strongly encouraged)
Broadway: The American Musical (Hardcover) ISBN-10: 0821229052
How to be a working actor: the insider's guide to finding jobs in theater, film and television,
Henry, Mari Lyn; 2007 edition; ISBN 0823088952
Audition, Michael Shurtleff ISBN-10: 0553272950
ADDITIONAL TEXTS/MATERIALS PROVIDED BY INSTRUCTOR:
BROADWAY: THE AMERICAN MUSICAL: Michael Kantor (PBS, 2004). Much of what we’ll be working on
this semester is built upon the history, styles, and context of the American Musical. And what better way to learn
about the art of Musical Theatre than by watching the quintessential Documentation of its genre (and it’s much more
entertaining than reading a textbook).
Some Sheet music will be provided.
In Class accompanist will be provided – Our Accompanist is Cristina Moreno mor09022@byui.edu 801-907-5483
Private Vocal Instruction/Coachings outside of class are both encouraged.
OTHER REQUIRED MATERIALS: Daily: 3-ring binder, paper or composition book, a pencil and a pen, small voice recorder
(if possible), appropriate clothing and props.
DAILY CLASSROOM REQUIREMENTS:
ASKING QUESTIONS: If you have questions about any of the work in class, please ask for clarification. Be Proactive. There are
no stupid or ridiculous questions and the ensuing discussion may also benefit your classmates.
PRE-EXISTING CONDITIONS: If you have an injury, or a physical or learning disability that may in any way affect your ability
to fully participate in the work in class, please notify the instructor ASAP (all information will be held in strict confidence), so that we
can work with you safely and respectfully and formulate a plan to best help you successfully complete the required work.
ATTITUDE/PROFESSIONAL CONDUCT: Treat this work as your job, everyday. You want to get (and keep) the job and must
bring the best professional you to class daily. I expect your full creative self and a positive professional attitude toward the day’s work
and your classmates. It is understood that you will come to class prepared and ready to explore the work in class accompanied by
your full mental concentration, your full physical ability, a vivid imagination and sense of play, and a willingness to remain open to
and embrace new ideas.
TRUST AND SUPPORT: Acting training requires a great deal of courage from all involved. Giving and earning trust is vital to the
success of any performer. It is expected that you will support your classmates with your fully engaged focus, support, and patience at
•THEA 5440 • Advanced Acting: Musical Theatre/Auditions Acting • Syllabus • Spring 2011 • Instructor: V. Ballam
all times. It is my goal to develop a safe environment in which everyone will feel comfortable enough to take big risks. It is okay to
fail in this class; I would much rather see you FAIL BIG and learn from it than to see the same choices day in and day out.
DRESS: Most class days, you’ll want to Dress in clothing appropriate for physical explorations. There will be days in class where
more specific attire will be required. i.e. mock audition attire for both singing and movement days. Movement Clothes must be worn
on days when designated. Fitting must not be too loose. This may consist of sweats, dance attire or comfortable clothing that will
show breathing and will not restrict freedom of movement is appropriate. As studio work may require intimate physical contact,
please dress appropriately.
ADDITIONAL ITEMS NOT ALLOWED IN THE CLASSROOM: Active cell phones (this includes those on vibrate – turn them
off) food, beverages (except water in closed containers), chewing gum, candy, strong perfumes or other scents.
PREPARATION: Lack of preparation for the work in class will greatly hinder your own progress within class (and that of your
scene/duet partner). Taking responsibility for your own work is one of the first steps to becoming a professional, now is the time to be
practicing that behavior.
MEMORIZATION: It is expected that all songs/audition pieces will be fully memorized by the dates assigned by the instructor.
SONG SHOWINGS/MOCK AUDITIONS: If an emergency occurs and you will not be attending class on a day you were
previously assigned to rehearse or share work, it is YOUR RESPONSIBILITY to notify your professor of the situation and, if
applicable, to find classmates who are willing to switch work days with you. Always notify the instructor prior to class if such a
switch is going to take place. Taking the appropriate steps to notify the instructor and cover the scheduled class work will ensure that
your grade for that day’s work will not be impacted.
Attendance Policy:
Regular attendance, punctuality, and positive and active participation in class are vitally important to both you and
your classmates. You get two absences for free, for every absence beyond the first two, your grade will be lowered
1/3 of a letter grade.
Tardiness:
Three late arrivals constitute one absence. Anyone arriving later than 15 minutes into the class period will be
counted as absent.
DO NOT stand up your acting partners for rehearsals or class presentations. AN ABSENCE ON THE DAY OF AN
AUDITION, SONG OR SCENE PRESENTATION WILL ALSO LOWER YOUR GRADE.
WRITTEN WORK: (*Though not likely, additional written work may be assigned throughout the semester at the instructor’s
discretion.) All written work must be typed unless arrangements are made in advance with the instructor. No Late assignments will
be accepted.
Written Assignments:
AUDITION BINDER: Throughout the semester, you will also be required to create a binder containing the sheet music of
songs (separated by style, genre etc.) that you are prepared to perform at a musical theatre audition. The binder must contain
at least 14 songs by the end of the semester. This may include the solos you’ve been working on in class. Every Friday
starting Friday January 28, you will present a new song you’ve chosen to be included in your binder, express why you’ve
chosen it, what it showcases, and what category in your binder it falls under. For your enjoyment Fridays will be known as
Songbook Shenanigans.
COMPOSER RESEARCH PAPER/PRESENTATION: You and a partner are required to choose a Broadway Composer
or Composing Team to research and present on. I am interested not simply in your ability to read verbatim information
you’ve found in books or off of the internet. I am interested in your ability to analyze the contributions of these individual
artists. You will prepare a SHARED 15-20 minute presentation for the class as well as a 2 page typed outline of your
presentation for each member of the class. You must include at least one Visual/Aural Aid in your presentation.
CITY BOOK PROJECT: Your final project for this class is geared toward preparing you for the realities of starting a
theatrical career in a new city. Every performing artist needs to be looking toward and preparing for the next step in their
careers. After you graduate all of you will be going out into the world to start your careers, you need to be thinking about
this now. What city/market are you wanting to work in and why? Through this project you will start the groundwork for
what it takes to not only live, but thrive in your given city.
•THEA 5440 • Advanced Acting: Musical Theatre/Auditions Acting • Syllabus • Spring 2011 • Instructor: V. Ballam
RESUMES: Having an up to date resume is a necessity for every artist and will be included as a part of the written portion of
your grade.
PRACTICAL WORK:
Song/Scene Performances:
You will prepare and present at least two songs and one musical scene this semester. You are required to rehearse
these songs outside of class. Failure to do so, it will affect your final grade.
Performances Outside of Class:
We may have the opportunity for performances outside of class. Of course these opportunities are encouraged and
will be considered in the final portion of your grade.
Mock Auditions:
At the end of the semester we will hold a mock audition. This will be an opportunity for you to put into practice
everything we’ve been working on in class. This Mock audition will include a dance/movement call and will be for
professionals in the business. It is possible that we may hold this Mock audition in a TBA locale other than the
dance studio. You will receive feedback from your auditions.
Play Attendance:
Utah State Theatre will present two productions this semester. You are required to see both productions for in class
discussions. If you do not participate in the discussions, I will assume you have not really seen the show.
Our Country's Good - By Timberlake Wertenbaker Morgan Theatre
Feb 17-19 & 23-26, 2011 7:30pm
The Three Musketeers - By Ken Ludwig Morgan Theatre
April 14th -16th & 20th -23rd, 2011 - 7:30pm
As a USU Student, you will receive one complimentary ticket per production by showing your Valid USU student
ID at the Caine School of the Arts (CSA) Box Office. Plan ahead and pick up your ticket in advance.
Sometimes the shows sell out, so it is always a good idea to get your tickets early.
MASTERY: The mastery of concepts, materials and skills is a vital component of learning and has a great deal of bearing on the
student’s real potential for success in future learning and in the profession. Mastery of a skill is usually determined by the ability to
not just understand the skill but to put it into practice. Mastery is measured by comparison of the student’s practical performance of
the material, skill or concept being taught to the expected professional standard and in comparison to the exemplary standard
achieved. This is the actual level of mastery and is separate from how hard the student tries, how much they desire excellence and
how much the instructor may like/admire the student. Students are therefore graded not merely on their growth, or potential, but on
their performance and utilization of concepts, materials and skills as measured against the professional standard.
GRADING: Your final semester grade will be broken down as follows:
1) Professional Conduct: 20% including, but not limited to, Professional conduct, attitude, preparation,
participation, improvement, and collaboration with instructors and partners; See Description Above.
2) Mastery: 40% ability to understand concepts, materials, and skills and put them into practice with
consistency; See Description Above.
3) Written assignments: 40% including but not limited to, Audition binders, resumes, composer outlines,
and city books.
Extra Credit:
1. Attend a full-length Musical Theatre production (approved by me) and submit a critique see instructor for
format and instructions for the paper. (Worth 10 Extra Credit points).
2. Auditioning for and/or performing in a musical theatre production. Submit a one page report or summary
including personal feelings about the experience. (Worth 10 Extra Credit points).
a. Extra Credit CANNOT be used in lieu of absences.*
b. All Extra Credit must be pre-approved by me.*
Please feel free to contact me or make an appointment to meet with me if you have any questions or concerns throughout the semester.
Enjoy yourselves and have fun!
•THEA 5440 • Advanced Acting: Musical Theatre/Auditions Acting • Syllabus • Spring 2011 • Instructor: V. Ballam
ACCOMODATION FOR DISABILITIES:
The Americans with Disabilities Act states: "Reasonable accommodation will be provided for all persons with
disabilities in order to ensure equal participation within the program” If a student has a disability that will likely
require some accommodation by the instructor, the student must contact the instructor and document the disability
through the Disability Resource Center (797-2444), preferably during the first week of the course. Any request for
special consideration relating to attendance, pedagogy, taking of examinations, etc., must be discussed with and
approved by the instructor. In cooperation with the Disability Resource Center, course materials can be provided in
alternative format, large print, audio, diskette, or Braille.
ACADEMIC INTEGRITY – HONOR SYSTEM
Each student has the right and duty to pursue his or her academic experience free of dishonesty. The Honor System is
designed to establish the higher level of conduct expected and required of all Utah State University students.
The Honor Pledge: To enhance the learning environment at Utah State University and to develop student academic integrity,
each student agrees to the following Honor Pledge: "I pledge, on my honor, to conduct myself with the foremost level of
academic integrity." A student who lives by the Honor Pledge is a student who does more than not cheat, falsify, or
plagiarize. A student who lives by the Honor Pledge:
Espouses academic integrity as an underlying and essential principle of the Utah State University community;
Understands that each act of academic dishonesty devalues every degree that is awarded by this institution; and
Is a welcomed and valued member of Utah State University.
GRIEVANCE PROCESS (Student Code)
Students who feel they have been unfairly treated [in matters other than (i) discipline or (ii) admission, residency,
employment, traffic, and parking - which are addressed by procedures separate and independent from the Student Code] may
file a grievance through the channels and procedures described in the Student Code:
http://www.usu.edu/studentservices/pdf/StudentCode.pdf#Article7
PLAGIRISM
Plagiarism includes knowingly "representing, by paraphrase or direct quotation, the published or unpublished work of
another person as one's own in any academic exercise or activity without full and clear acknowledgment. It also includes the
unacknowledged used of materials prepared by another person or agency engaged in the selling of term papers or other
academic materials." The penalties for plagiarism are severe. They include warning or reprimand, grade adjustment,
probation, suspension, expulsion, withholding of transcripts, denial or revocation of degrees, and referral to psychological
counseling.
SEXUAL HARASSMENT
Sexual harassment is defined by the Affirmative Action/Equal Employment Opportunity Commission as any "unwelcome
sexual advances, requests for sexual favors, and other verbal or physical conduct of a sexual nature." If you feel you are a
victim of sexual harassment, you may talk to or file a complaint with the Affirmative Action/Equal Employment Opportunity
Office located in Old Main, Room 161, or call the AA/EEO Office at 797-1266.
WITHDRAWAL POLICY AND "I" GRADE POLICY
Students are required to complete all courses for which they are registered by the end of the semester. In some cases, a
student may be unable to complete all of the coursework because of extenuating circumstances, but not due to poor
performance or to retain financial aid. The term 'extenuating' circumstances includes: (1) incapacitating illness which
prevents a student from attending classes for a minimum period of two weeks, (2) a death in the immediate family, (3)
financial responsibilities requiring a student to alter a work schedule to secure employment, (4) change in work schedule as
required by an employer, or (5) other emergencies deemed appropriate by the instructor.
•THEA 5440 • Advanced Acting: Musical Theatre/Auditions Acting • Syllabus • Spring 2011 • Instructor: V. Ballam
Course Schedule (Please note that the schedule is subject to change at the discretion of the instructor.)
Date In-Class Activity Assignments Due
Mon 10 Jan •Introduction to course, syllabus, professionalism, and each other.
• 32 Bar Assignment
•Assign Broadway Composer Paper/Presentation
Wed 12 Jan •32 Bar Performances/Discussion
Fri 14 Jan •32 Bar Performances/Discussion
•Assign Ballad
•BROADWAY: THE AMERICAN MUSICAL Day 1
Give My Regards to Broadway (1893-1927)
Syncopated City (1919-1933)
Mon 17 Jan •NO CLASS – Martin Luther King Jr. Day
JANUARY 18-22 – Caine College of the Arts Week
Wed 19 Jan • Industry Workshop – Steven Peterson and Pam Coats Black Box
Fri 21 Jan •BROADWAY: THE AMERICAN MUSICAL Day 2
I Got Plenty O' Nuttin (1930-1942)
Oh, What a Beautiful Mornin' (1943-1960)
Mon 24 Jan •BROADWAY: THE AMERICAN MUSICAL Day 3
Tradition (1857-1979)
Putting It Together (1980-2004)
•Discuss Audition Binders
•Choosing Pieces for Audition Binder
Wed 26 Jan •BROADWAY: THE AMERICAN MUSICAL Day 4 • Broadway Composer Chosen and Approved by Professor – Date sign up
Interviews
Fri 28 Jan •1st Showing of Ballad • 1st Songbook Shenanigans
Mon 31 Jan NO CLASS – Broadway Composer Research Day
Tues 1 Feb An Evening with Stephen Sondheim – 7:30 Kingsbury Hall
Wed 2 Feb •1st Showings of Ballads
Fri 4 Feb •2nd Showing of Ballads • 2nd Songbook Shenanigans
Mon 7 Feb •2nd Showing of Ballads
Wed 9 Feb •2nd Showing of Ballads
•Assign Up tempo
Fri 11 Feb •TBA • 3rd Songbook Shenanigans
Mon 14 Feb •Broadway Composer Presentations • Broadway Composer Paper and Presentation Due
Wed 16 Feb •Broadway Composer Presentations • Broadway Composer Paper and Presentation Due
Fri 18 Feb •Assign/Discuss City Book • Headshots Scheduled 4th Songbook Shenanigans
• Headshots/Resumes
• Cutting Songs/Marking Music
• Accompanist Interactions
Mon 21 Feb •NO CLASS – President’s Day
Tu 22 Feb MONDAY CLASS SCHEDULE
•1st Showing Up Tempo
Wed 23 Feb •1st Showing Up Tempo
Fri 25 Feb •1st Showing Up Tempo • 5th Songbook Shenanigans
Mon 28 Feb •2nd Showing of Up Tempo • Bring Duet choices to class – for Professor approval
Wed 2 Mar •2nd Showing of Up Tempo
Fri 4 Mar •IMPRO THEATRE WORKSHOP Brian Lohmann
Mon 7 Mar SPRING BREAK
Mon 14 Mar •2nd Showing of Up Tempo/Pick Your Poison
Wed 16 Mar •Pick Your Poison
Fri 18 Mar •Musical Theatre Scene work • 6th Songbook Shenanigans
Mon 21 Mar •Musical Theatre Scene work
Wed 23 Mar •Musical Theatre Scene work
Fri 25 Mar •Musical Theatre Scene work • 7th Songbook Shenanigans
Mon 28 Mar •Pick Your Poison
Wed 30 Mar •Pick Your Poison
Fri 1 April •Musical Theatre Scene work Performances • 8th Songbook Shenanigans
Mon 4 April • John Evans Martial Artist Workshop
Wed 6 April •Audition Preparation • Final Headshots/Resumes due
• Headshots/Resumes Review
Fri 8 April • Emeriti Rehearsal • 9th Songbook Shenanigans
Mon 11 April • Emeriti Performance
Wed 13 April • Every Little Step viewing
•Discussion
Fri 15 April •Audition Preparation • 10th Songbook Shenanigans
Mon 18 April • Mock Audition Singing/Feedback
Wed 20 April •Mock Audition Singing/Feedback
Fri 22 April • Mock Dance Call • 11th Songbook Shenanigans
Mon 24 April •City Book Presentations • City Books Due
Wed 26 April •Final Song Sharing •Audition Binders Due
Fri 28 April •Final Song Sharing
•Recap
May 2-6 FINALS WEEK