Workshop Week Curriculum

We know you want your child to have an awesome week filled with fun, music and making new friends.

We also know you want to know they’re gunna learn some cool things, too.

Check out our detailed curriculum below which outlines the exact details of the educational classes they will participate in daily.


Audition Workshop with Casting

Pianist Required OR A Capella OR Tracks

Required Materials:

  • Official feedback worksheets (used for feedback)

  • Audition song

  • Sheet music (if applicable)

All participants will perform a 32 measure audition song for the class that will be prepared before day 1 of the program.  

Afterwards, we will offer feedback and work with the singer on some adjustments.  At the end, we will do a second “lightning round” where the students can try to apply the suggestions.  

The students will also act as “casting directors” for the auditions. I will choose three different musicals and review the principal characters and musical style. The students will cast the actors in whichever role and musical they think would be the best fit.  The educational opportunity here is twofold:

  1. First, students experience the point-of-view of the director, which can be very informative for the audition (and rehearsal) process.  

  2. Second, the students can receive feedback on how they are representing themselves through their audition songs.  

Topics for discussion and workshop may include:

  • Entering and leaving the room

  • Introducing oneself and one’s material

  • Interacting with the pianist

  • Immediately establishing a character

  • Recovering from mistakes

  • Adjusting vocal technique

  • Learn everything from what sort of impression you make from the minute you enter the audition room to when you leave.

  • We can go over creating the perfect 16-32 bar cut for a song of their choosing (or the song they are singing in the show) and

  • how to best capture an auditor or directors attention in the 30 second audition window.


Vocal Technique & Skills Basics

Required Materials:

  • Vocal health info handouts

  • Voice anatomy handouts

  • Tips, tricks and ‘must-haves’ list for staying healthy!

This class would serve as the introduction for vocal skills in musical theatre singing.  It is important to establish a vocabulary for different technical concepts so that we can work productively with the performers.  If there’s time, this would also be a good opportunity for a question and answer session to possibly debunk or confirm any myths. This would be great for Day 1, so we can continue to refer to ideas throughout the week

The curriculum would include:

    • Explaining basic vocal anatomy and function, including video examples

    • Introduce and apply vocal concepts

      • “Buzzy” (resonant) singing

      • Head and chest voice

      • Legato vs. staccato

      • Dynamics

      • Breathing (I like to work Alexander Technique into this)

        • Explain basic anatomy and function

      • Vocal Healthy Habits

        • How to take care of the voice

        • What to do when you’re sick/vocally tired

  • Learn the best ways to take care of your voice to stay in tip-top shape.

  • We can go over key terms such as:

    • the diaphragm,

    • expansive breathing,

    • soft palate,

    • resonance

    • and more.

Learn the best ways to take care of yourself if you find your voice getting tired the week of a show!


Musical Theatre History Overview

Required Materials:

  • History timeline handouts

  • Examples of music and recording recommendations

This class introduces the different periods of musical theatre history and highlights the important composers through actual musical/video examples.  

This is particularly important as students think about assembling audition binders that need to be comprehensive.

This is also a good opportunity to introduce students to notable musical theatre singers and discuss what they do effectively.


  • Precursor - Operetta

    • Gilbert and Sullivan - I am the Very Model of a Modern Major General

  • Golden Age

    • Rodgers and Hammerstein - Carousel, If I Loved You

    • Meredith Wilson - Music Man, Trouble

  • Post Golden Age

    • Kander and Ebb - Chicago - And All that Jazz

  • Sondheim

    • Sondheim - Into the Woods, Giants in the Sky

  • Pop

    • Jason Robert Brown - Songs for a New World, Stars and the Moon

    • Stephen Schwartz - Children of Eden, The Spark of Creation

  • Rock

    • Duncan Sheik - Spring Awakening, Whispering

    • Jonathan Larson - RENT, Seasons of Love

  • Jukebox

    • Jim Jacobs and Warren Casey - Grease, You’re the One that I Want

  • Disney

    • Alan Menken - Beauty and the Beast - Home

  • Pop Opera

    • Schonberg and Alain-Boublil - Les Miserables, On My Own

    • Andrew Lloyd Webber - Phantom of the Opera, Think of Me


Song Interpretation Masterclass

Pianist Required

Required Materials:

  • Character Analysis guide handout

  • 4-6 “Notes” sheets for every song in their audition binder/book

Objective of this class is to demonstrate possible approaches to discovering more depth in song interpretation.  

At the beginning of the class, 4-5 volunteers will be selected to perform in the class.  They will sing a song (or a section) and an instructor will work with them on the next step in their interpretation and performance.  

Feedback and participation from the rest of the class will be encouraged.

Topics include:

  • Circumstances (who, what, where, when, why questions)

  • Performing the song as a monologue

  • Objectives and tactics

  • Physical expression

  • Movement

  • Using vocal colors and/or musical choices to express intention


Dancing/Tap Workshop

Required Materials:

  • Tap or dancing shoes (if available)

  • General Movement steps we can do to a preselected musical theatre song.


Audition Book Workshop

Required Materials:

  • Sheet music already prepared and printed of the song selection

The objective of this class is to assist students in the creation of their ‘audition books’ in order to feel confident and prepared for auditions.  Audition books are a standard requirement for auditions- it is a composition of 4-6 selections that are thoughtfully prepared and audition-ready at any time.

Students are encouraged to bring in their current audition binder (if they have one) for feedback and suggestions.  

By the end of the class, each student should have an organized audition book or the skills to create one.

If there is time, this is also an opportunity to discuss other audition materials, including resumes and headshots.

Topics include

  • Selecting repertoire

  • Organizing a music binder

  • Marking music for pianists

  • Understanding audition requirements

  • Choosing cuts

  • Adjusting selections by specific audition