Most American singers are crossover artists in spite of ourselves. Opera has never been our predominant musical art form. Musical theatre, rock ‘n’ roll and spirituals occupy a far larger space in our culture.
I grew up listening to ‘50s and ‘60s classic musicals (and, of course, rock). As I matured, and realized I could sing, I hoped to continue this tradition, but during my high school and college years, my voice was deemed “too operatic,” “too big” and “too dark” for most musical roles. Tastes in musical theatre were changing, and most venues didn’t want my type of voice. As much as I enjoyed singing classical music, however, the emotional fit did not seem quite right.
I scanned the trades, and found that most auditions required a strong belt voice, and stronger dance skills than I had at the time. I despaired of ever finding my niche.
At 25, I was given the opportunity to sing in a Sondheim revue. For the first time, I truly felt connected to the music, and the acting possibilities this type of music presents. Throughout the following two decades I continued to seek my place in the music world, spending years singing opera, only to return to more traditional American music. I sang in classic musicals, a few contemporary musicals and operas, and was honored to create roles in new works.
I’ve concluded that there is no one perfect place for me—and as our lives evolve, our musical preferences may change. Each singer must make intelligent choices, and maintain awareness of what is healthy—vocally and emotionally.
Any discussion of crossover work seems to bring out strong emotions in singers, who may feel that any piece of music that doesn’t call on every bit of technical expertise and foreign language skills can’t be worthwhile. Actually, such sentiments are not totally wrong. Much non-operatic music is not vocally challenging, and can frustrate singers used to striving for vocal excellence. At the other end of the spectrum is the singer who believes that with decent technique the sky’s the limit, and tries to sing everything.
We are all aware of classical artists who sing musicals, jazz, spirituals, zarzuelas and standards. At best, music sung by a beautiful voice rises to a new level. Other times, however, the result is laughable—when a singer hasn’t done his or her homework regarding style, or the music just doesn’t work well in a particular singer’s voice.
Most singers would never sing Mozart in a verismo style, so why would a singer neglect to learn appropriate styles for other music? Likewise, we probably wouldn’t sing dramatic literature with a lyric instrument, or vice versa. Just as in opera, crossover music of any kind requires research, trial, and sometimes, error.
Some singers believe they need to master a long list of qualifications to cross over, but most classical singers have already done the important groundwork. Choosing appropriate repertoire can pose a greater challenge than singing it. Whenever possible, go to musical and cabaret performances, check out scores, and listen to CDs. Soon, you’ll begin to see where you fit in.
Casting people are aware that today’s singers are generally attractive and personable. The myth of the overweight, temperamental diva or divo is mostly a thing of the past, so unless you perpetuate that stereotype, you should not encounter any problems when auditioning. Some singers are not great actors or dancers, but these skills can be learned. Most acting and dancing teachers have worked with singers, so there is no excuse not to find exceptional instruction at whatever level you require. It may take a while—but singers, of all people, know that excellence takes time.
Endless articles have been written about audition preparation. Singers should learn as much as possible about the piece, and prepare comparable material. Audition attire is a bit more casual than for opera, but auditors appreciate good grooming, and a sense of style. Women should go a little easier on makeup, and avoid elaborate hairstyles and jewelry. Men can have longer, more casual hair, but make sure beards and mustaches are trimmed. Don’t show up unshaven, unless the role requires it. Make sure your headshot is recent and looks like you.
More roles are available for young (under 30) performers, but opportunities exist for all of us. Don’t make the mistake of trying to look much younger than you are. If you are 40 or 50, it’s much more important to project a strong sense of self than to try to compete with the 20-year-olds.
Finding and getting auditions is not as difficult as in the opera world. Some auditions are done through a few select agents, but singers who persevere will be seen. The Actors’ Equity Web site lists most of the open calls, and is updated every few days. Auditions are also listed on the Actors’ Equity Association hotline. Backstage lists most auditions, but they often appear on the AEA Web site earlier.
The Theatrical Index lists all upcoming Broadway, off-Broadway and national tours. It costs $14, but it’s worth it to know what shows are on the horizon. If you are having trouble locating Backstage or the Theatrical Index, call them, or find them on the Web. Backstage’s online edition has articles from all regions. Playbill On-Line also lists quality auditions. Many cities publish their own audition magazines, or list auditions in local papers.
If you live in the New York area, consider auditioning for AEA Showcases. They pay only a small honorarium, but often are excellent, and frequently get reviewed. Some of these productions move to larger venues. AEA usually posts a list of upcoming showcases.
AGMA [American Guild of Musical Artists] and AFTRA [American Federation of Television and Radio Artists] members may be eligible for AEA membership. If you are not a union member, you can still audition for most productions, as well as non-union productions. Most Broadway musicals have open calls. Equity people must be seen first, but patient non-union performers often manage to get seen. Snowy, rainy or freezing days are great opportunities to get seen.
Singers do not need agents to get work, but submissions enhance your chances of being seen. The Ross Reports list legit agents in New York and Los Angeles. Send your materials to agents and casting directors who handle musical performers.
Summer stock companies often produce legit musicals, but be aware that they may expect singers to perform in an entire summer of shows. Also, some non-union contracts may list the show, but not the specific role. If the company said you will be playing a role, make sure your contract says so. You don’t want to sign away your entire summer to sing in the chorus and wait tables (or other non-performing tasks) in the sticks.
Straw Hat and other regional auditions enable performers to be seen by many companies at once, and have provided many of us with employment over the years. Read the fine print carefully, and ask for a rider stating exactly what your responsibilities will be.
Since a number of writers have discussed the subject of belt singing, I will speak my piece briefly, and present some views of singers who have been performing successfully for years. Supposedly, there are safe techniques for belting, but I believe belting doesn’t work well for most classical voices, particularly over long periods of time. Years of belting coarsen the voice, and can compromise the upper-middle register of soprano voices. In fact, many “legit” musicals are scored too low for many of us. Check out scores of roles you are interested in. None of us can sing everything, and its OK to pass on roles that don’t fit our voices.
Another area to explore is cabaret. Unlike musical theatre, performers can tailor music to their unique talents. Since singers are not required to sing eight performances a week, they can take a few vocal risks without causing damage. Singers can also sing selections that are vocally, but not “artistically” right for, in the context of a musical.
Cabaret offers a wealth of opportunities to classical singers, many of whom make their living from this work. Classically trained Vickie Phillips realized her performing gifts lay in the intimate confines of cabaret. Vickie’s beautiful soprano voice and vivacious personality have sold out shows for decades, and she continues to be honored with awards for cabaret excellence.
“As far back as I can remember, music was the one sustaining factor in my life. I always loved music, musicals, live performances…music and singing were routine, and classically oriented. I add ‘desire’ to ‘discipline’ and ‘dedication’ to get training for improving what I loved to do. Singing/acting-acting/singing go hand-in-hand when creating a song/performance. After all, a song has ‘dialogue,’ a point of view, a beginning, middle and end, like a one-act play, a monologue, a scene. So, like preparing for any scene, songs should be prepared one-on-one with yourself for images, point of view, transitions, and moment-to-moment creativity. People like Nellie Melba, Ljuba Welitsch, Amelita Galli-Curci, Jussi Bjorling, and Caruso filled my heart and soul, and taught me how important it is to protect the voice against ‘belting.’ Nothing destroys the vocal cords and takes off years of singing more than improper belting of the voice. My classical training has always been an asset to non-classical venues.”
Having already received a Backstage Bistro Award and been nominated for a MAC Award for American Cabaret: European Roots, Vickie was honored again this year, receiving the 2004 OOBR Award for “Songs Are Like Friends.” Her critically acclaimed show, A Musical Journey With the Songs of Jacques Brel, Kurt Weill, and Charles Aznavour, played this year in the Midtown International Theatre Festival in Manhattan.
Mezzo Elizabeth Blake has focused most of her work in opera, but has experience with musical theatre. Judging from her excellent singing, she has obviously made the right decisions for her voice.
“Since purity of technique seems to be all the rage these days, you must be very careful singing any other style of music,” Elizabeth advises. “If you’re doing one concert it probably won’t hurt, but if you’re planning a tour, choose wisely. Belting, speak-singing and shifting registers all take a toll.
“Most of the later musicals are written in a pop-rock style, with emphasis on a conversational sound. Of course, there are exceptions, such as Les Misérables, “Phantom” and Sweeney Todd. Many of the older musicals: Showboat, Carousel, Camelot, etc., can be sung with a modified classical technique which agrees with both the music and the musician.
“Everyone’s voice is different, so only you know if something feels uncomfortable. A good teacher and a good coach should be able to tell if you’re straining, and guide you with repertoire selections.”
New works, such as song cycles, can provide fabulous opportunities for singers who may have the chance to be part of the creative process (and also ensure scoring will be congenial.) Soprano Sarah Levine Simon has decided against crossover singing, feeling her high lyric voice is best suited for soubrette roles and concertizing. Sarah feels that, “crooning makes it hard to get into a ‘floaty’ Strauss or Mozart groove,” so she sings only musical theatre selections that are scored very high, though she enjoys singing a classical music encore or two at concerts. She has been fortunate to have song cycles composed for her, some based on poetry such as Lori Laitman’s “Sor Juanna de la Cruz,” and even some innovative Sabbath music. Sarah recently sang a Scarlatti program in Poughkeepsie, N.Y., and has written a libretto for a new group of songs.
So get going. Scope out opportunities that interest you. Follow up, and above all, give yourself the chance to succeed. You may find a whole new world of music waiting for you. Whatever you decide, enjoy the journey.
