I used to be a stockbroker. For three interminable years. From the get-go I was mandated by my mentors to study a book (whether it’s still in print I don’t know for sure) called “The Cold Call Cowboy.” It was a sales techniques book written by the so-called “cowboy” himself. Apparently this guy was so effective at “cold” calling his sales prospects that while all the junior brokers around were being incessantly hung up on by those they called, the cowboy had magic techniques and a quick silver tongue that enabled him to keep the prospects on the phone. And he made a lot of sales. His technique wasn’t hard to understand. He was simply different than the last annoying cold caller and those being called appreciated his original and entertaining approach.
Dutifully, I read the book. And it helped with my sales techniques. It occurred to me then and screams in my head now more then ever: This is the simplest way for actors to get the callback and, with some luck on your side, book the job.
The idea is simple: as an actor do what others don’t do. This applies to your audition material, but it is mostly about the choices you make in the room to set yourself apart. I coach a lot of people for auditions and I can say with no hesitation that the reason actors fear being “different” and making bold choices with their material is that they don’t want to “be judged” by auditors as “too off-the-wall.” Don’t be so sure. Casting directors and creatives LOVE (within reason of course) bold but honest, fearless choices from you. Notwithstanding the size of the space you are auditioning in where sometimes adjustments must be made, go big or go home.
As we approach a new audition season I challenge you to accept what I say as truth and find what is truly unique about what you can bring to your audition material and from yourself as yourself. You may be surprised at what happens.
Stephen Purdy is the author of “Musical Theatre Song: a Comprehensive Course” available at bookstores and online everywhere and is a NYC based voice teacher and coach. Reach him at email@example.com. Facebook: Stephen Purdy Vocal Coach and Author Twitter:@purdyvocalcoach
Years ago I ran into an actor friend that I like and admire on the Upper West Side in New York City and I asked him the perennial question we theatre people tend to slip in after the pleasantries: “Are you working?” His reply resonates today as much as then: “I’m always working” he said. “I’m just not always getting paid for it.”
This time of year can be frustrating and confusing for an actor if you didn’t book a summer gig. So you’re not “working?” You should still be “working.”
True, you may have spent three months auditioning your tail off, getting so close and then not getting the call. Your may feel crushed at the outcome. You might even be questioning whether this is the life you want. But you can’t take a vacation from your craft.
Coaches will offer soft, encouraging phrases like “Don’t worry. Your number will come up.” But I, as a coach, don’t believe that can be a truthful universal response. I’d love it if all my students would eventually book, but I know that not all will. Whether or not they will book a show is more often than not predicated on how hard they’ve worked to “deliver the goods” in the audition room.
I have a student who I love and adore who didn’t book a show this summer. I believe that by and large it’s the voice that is holding this student back. The student has heaps of talent and wide appeal but the voice simply isn’t strong enough to be competitive yet. The student vowed weekly summer lessons in May. It’s mid July and I haven’t heard a peep. Other students come to their lessons the way others attend church: every week nearly without fail. It’s about priorities.
You always have to be “working”. You can’t wait to begin fixing the holes in your technique when audition season is up and running or near-approaching. It’s the reason baseball players have spring training well before the season starts. If you begin working to fix your technique issues, up-ing your vocal game, going to dance classes and getting your book and audition presentations rock solid once auditions begin it’s too late. And there will be another actor standing beside you in the line who has already done the work. And that’s the person that I place odds on.
Invest in yourself. The returns can be astounding.
So what are you doing this summer?
Stephen Purdy is the author of Musical Theatre Song: A Comprehensive Course published by Bloomsbury and a vocal teacher and coach in New York City at Marymout Manhattan College and privately. Visit stephenpurdy.com and follow on Twitter: @purdyvocalcoach and Facebook: Stephen Purdy Vocal Coach and Author
When I was a student at the Cleveland Institute of Music, I spent A LOT of time analyzing classical music and discussing tonal structure and form. I’m sure many of my readers had similar experiences and today I want to share some great news – those same skills can be used to learn pop/rock style! The reality is no one lives in an artistic vacuum. All artists learn from those who came before them and they draw upon those influences to find their own artistic voice (check out “Steal like an Artist” by Austin Kleon).
When students are learning to sing in a new style, it is very beneficial for them to really dive into each piece and analyze the little details that come together to create the bigger picture. I call this listening on the micro level (small details) instead of the macro level (the big picture). Today I am sharing a PDF of a worksheet that I use with my students to do just that. You can download the worksheet here (Analyzing Your Pop_Rock Song Worksheet) and you have permission to print and distribute it as long as the copyright statement at the bottom remains in place.
Let’s walk through the steps.
The first time you listen to the song you are going to pay attention to the following:
Does the text tell a story or set a mood? For instance “The Story” by Brandi Carlisle tells a story, but “Good for you” by Selena Gomez sets a mood.
Is the song melodic, rhythmic, or a combination? “Don’t” by Ed Sheeran would be considered primarily rhythmic, whereas “Faithfully” by Journey would be considered melodic. Many songs mix together elements of both.
What is the primary register? You can use whatever terms you prefer for this – chest, head, chest-mix, head-mix; thin fold, thick fold; curb, overdrive; etc.
Are there register changes/breaks? If yes, mark them in your music.
What is the perceived effort level? Does it sound like the singer is using low, medium, or high effort when singing.
Next you are going to listen for rhythmic emphasis in both the accompaniment and the vocal line and determine whether the emphasis is primarily on 1 and 3 or 2 and 4. You will then use a carrot (“<“) to mark the emphasis in both the accompaniment and the vocal line.
After you have determined the rhythmic emphasis, listen for words and consonants that are emphasised and underline them.
Next ask yourself whether the diction is crisp (for example “Stay” by Lisa Loeb”) or more lazy (for example “Blowin’ in the Wind” as performed by Bob Dylan). Think about how you would describe the tone quality – is it dark, bright, speech-like/neutral, etc. Also listen for an accent. This is rare, but if you are trying to sing a country song or a British rock song, it should be considered.
Next you want to think about what is happening at the laryngeal level. Does the voice sound free (neutral/free-floating larynx) or does it sound constricted (locked/high larynx). Then you want to listen to the onsets and releases in the song and determine if they are clean, glottal, aspirate, fry, etc. You will also want to mark scoops, slides, fall-offs, and other phrasing choices. Finally, mark any instances where there is vibrato. The assumption in pop/rock is that the voice will be straight-tone, but depending on the style this may not always be the case.
In addition to being a great exercise for your students, this process also takes some of the pressure off of you (the teacher) to be an expert at every style. I primarily teach CCM music and no matter how much I listen to Spotify, I cannot keep up with the tastes of my students. Some sources claim there are over 35 million songs on iTunes. If that is true, it is IMPOSSIBLE to listen to every song in the iTunes catalog in your lifetime. So instead of trying to spend your whole life catching up on all of the sub-genres that are constantly evolving, teach your students to analyze their own songs and you will set them up for a lifetime of success.
If you are looking for songs from pop/rock musicals, be sure to check out MusicalTheatreSongs.com. Thanks for reading!
Matt Edwards, Artistic Director of the CCM Voice Pedagogy Institute and Associate Professor of Voice and Voice Pedagogy at Shenandoah Conservatory
You’ve been preparing for months. You’ve selected the perfect audition song, and practiced in front of your teacher, your friends, your family, and… well… anyone who will listen!
Auditions can certainly be nerve-wracking, but chances are, you’ll do just fine! To calm your nerves, TakeLessons.com put together a humorous post with the 11 signs you’re going to rock your audition — in GIF form, of course!
You can feel confident if you’ve done the following…
1. You are rested.
True, it may be harder in this day and age to get the suggested eight hours of sleep every night, but the more quality sleep you have the night before, the better! A relaxed body means better sound, as there will be a lot less tension.
2. Your materials are together.
This means your sheet music is in the right key and clearly marked for the accompanist. The pages are also back-to-back and neatly organized in a binder. If you’re using sound files, they should be easily accessible and cued up at the correct time.
3. You know your lyrics backwards and forwards!
Confidence is key, and knowing that you REALLY have your songs down pat will help you soar through the audition!
4. You’ve done a good warm-up.
This means at least 15 to 20 minutes or so of light vocal exercises. It’s best not to do too much more than that, as you risk tiring yourself out. Think basic lip trills, hums, and sirens — you can never go wrong with those! It doesn’t needs to be anything fancy.
WARNING: This is an opinion-based post. One of the most common questions I receive from students and colleagues is, “can you please help me find a contemporary musical theatre song to sing?” It seems like a simple enough question, right? The problem is, ‘contemporary musical theatre’ is one of those frustratingly ambiguous terms that can mean 100 different things to 100 different people. Here are some of the many definitions I’ve heard from individuals over the years…
Any musical theatre song written from the late 1960s to the present that is meant to be sung with amplification. To me, it seems a little odd to label nearly 50 years of musical theatre songs ‘contemporary’, but I understand the logic. Body-miking performers really started to take off on Broadway in the 1960s, and there was a shift in vocalism, instrumentation, and other factors as a result (some songwriters also began to adopt pop and rock influences around this time). Generally, I just find this definition a bit too vague to be practical in most cases. Too much has changed over the past five-six decades.
A sub-style of musical theatre music that is influenced by both traditional musical theatre styles and popular/commercial music styles. This definition seems pretty good, but it’s still a bit wide-reaching. What years are we talking about? For example, 1970s pop-influenced musical theatre songs often sound quite different from 1990s pop-influenced musical theatre songs. There are differences in vocalism, instrumentation/orchestrations, acting, and more. To further complicate things, many of the European-invasion musicals from the 1980s combine elements of classical music, traditional musical theatre music, AND pop/rock music. A show like Les Misérables is essentially a sweeping, sung-through ‘pop-opera’.
A sub-style of pop-influenced musical theatre music that began in 1995 with Jason Robert Brown’s Songs for a New World. Giving JRB a lot of credit with this definition, but he has been an influential figure in the development of musical theatre over the past couple decades. Many young musical theatre songwriters today cite him as a major inspiration. More so than Rodgers & Hammerstein, Stephen Sondheim, etc., though?
Any musical theatre song written by ‘New Musical Theatre’ songwriters like Kerrigan & Lowdermilk, Joe Iconis, Adam Gwon, etc. This is an interesting definition, and it’s used fairly commonly. This group of songwriters is sometimes referred to as the ‘YouTube Generation’. Before YouTube, most theatre fans outside of NYC only knew about musical theatre songwriters with Broadway and/or Off-Broadway credits. Thanks to YouTube and sites like newmusicaltheatre.com, contemporarymusicaltheatre.com, and now musicaltheatersongs.com, musical theatre songwriters of all backgrounds and experience levels have been able to get their music out to the masses (which is great).
My main point with all this: if/when using the term ‘contemporary musical theatre’, make sure to clarify what you actually mean. The definitions above are just a few of the many out there. It is a devilishly vague term, and I sometimes wonder if we might be better off without it completely. However, that’s just me.
All conscientious theatre and voice educators aim to promote mindfulness in their students, especially as a grounding device in the midst of potentially stressful situations (read: auditions). As teachers are sadly neither omniscient nor capable of cloning, the best tool we have to help students audition better lies within the student’s ability to objectively assess their own performance. Guided by an accurate account, teachers can then help students form a game plan for the next round.
However, auditions are not governed by empirical guidelines. When coaching students for competitions, we are able to look up the “rules.” Auditions are a bit trickier, because there is rarely concrete feedback to be had beyond “good” (possibly suggesting further callbacks or casting calls) and “thank you very much” (an ironic platitude only in our industry).
An audition may literally end up an evaluation of your appearance, personality, age, attitude, accent, or even these variables in relation to another actor. I quasi-joke to my voice students about how I transform from an all-loving-hippie-type to a ruthless, judgmental tyrant at cattle calls, where in interest of time I might label candidates “anemic” or “nail-bitingly obnoxious” in my notes, or simply scrawl “Hallelujah!” so I remember why the essence of the candidate was right or wrong.
Unfortunately, in an effort to appear supportive, teachers inadvertently encourage students to project emotionally on a situation that may or may not be outside of their control rather than help them to tell the difference. After all, what kind of monster would say, “You know why you weren’t called back, dear? Because a lot of other girls were better for the part than you yesterday.” Instead, out of kindness, we state with authority that they have “too legit a sound,” that the director in question will only tall brunettes, and they should forget and move on.
Then, armed only with our well-intentioned sympathy, this student trudges out to have a Frappuccino with theater friends to identify the REAL reason she’s constantly overlooked… because, of course, the director plays favorites, four other girls sang the same song (and all of the blogs say this is certain death), or because she wore boring black Capezios instead of the LaDucas that clearly won her friend the part.
Urban Audition Legends
Perhaps a savvy friend, in an effort to be helpful, then posts a link to the first friend’s Facebook wall to with “top 6 things they are doing to totally screw up their audition.” Some of my favorite “Urban Audition Legends,” which I see in some manifestation almost every day on the Internet:
The exact number of measures matters. Audition proctors care about overall time; sixteen bars equates roughly forty-five seconds, thirty-two bars about sixty seconds, but even this guideline is approximate. Like the adage “if you’re looking at their shoes, they’re not acting”- if they notice that the student’s selection is two bars too long and cut them off before a climatic high note that would have added three seconds of time, there is a more pressing problem.
The exact song choice is of critical importance. The song is merely to put the actor’s talents, emotions, physical presence, and preparation on display. If it’s the right range, genre, and feel, it should be a contender for the “right” song. Look to sources like MusicalTheaterSongs.com as valuable resources to search for the right song, right now.
There is a definitive of body songs/composers to avoid. I would happily hear the best “On My Own” in the world when casting a Wedding Singer than an obscure work in the wrong style. Casting directors have so much to consider that they would prefer not to be distracted by an unfamiliar piece; besides, familiar songs that we know the melody to help inform us of the student’s musical skills.
Students can outsmart trial and errorby following any particular school of advice. The best auditoners I know have spent years if not decades honing skills; you simply must go out there and see what works for you. If it gets you callbacks, it’s a good piece for your book, period. If it doesn’t after many attempts, despite how the song seems like it SHOULD work for you, look for a better fit.
Although it can be a bitter pill to swallow, an actor just simply is or isn’t the right contender for a role. The right person walks in, the team is paying attention. The right sound comes out of their mouth, they will write something down. They capture the essence of what we need on some level, they usually get a callback. They capture our imagination, they get the gig.
I am well renowned among my students for (surprise, surprise) giving out long, wordy handouts. However, I have found the best solution to this quandary requires only four lines:
Learn lots of different types of songs
Learn what you sing better than anyone else through careful study, trial and error
Follow directions to help make strong educated guesses
We over complicate this process for students, giving them pages and pages of instructions on how “industry” vets audition selections, when the truth is that there is no secret rulebook. Not even being the best necessarily guarantees you the role. Recall Michael Shurtleff’s rather painful retelling of Bette Midler’s audition for “Jesus Christ Superstar,” where her layered, mature reading of Mary Magdalene would simply not be an organic fit with the rest of the ensemble, whereas Barbara Streisand’s famous, rule-defying antics won her international stardom at the “Funny Girl” call. The painful truth is that the conventional rules don’t always apply…unless, as in the latter case, you were born to play the role.
The audition itself is the critical step in the life cycle of a new piece; we must try it several if not several dozen times to see if a given excerpt takes on the same life at Ripley-Grier as it does in the lesson studio. A callback? A clue you are on the right track. Within a few repetitions, the “bugs” should be worked out and a student should be able to feel if they are successfully able to enter the zone with the piece in audition condition.
If ten or twenty auditions go by without that feeling- the piece is not serving the student and needs to be re-considered. And this, my friends, is where our power as actors actually begins: setting our sights on being the most skilled, most interesting, most unique creature they’ve seen in years. But that lesson is for the next installment!
TYA or Theatre for Young Audiences is full of misconceptions. Understanding what you are auditioning for is key for is key to a successful experience. So, as with any audition, do your homework. Make sure you clearly understand the following:
Roles: What character(s) are you auditioning for? a 4 year old? a sloth? the keeper of nightmares? Does that track play multiple parts? TYA is often done with small casts which means the list may get long!
Venue: TYA companies perform in many venues from tiny blackbox theaters, to school cafegymatoriums, to thousand plus seat amphitheaters. Inside, outside, mic-ed, or not.
Type of Contract: While some TYA may be amateur opportunities (and possibly even worthwhile ones), there are a surprising number of professional TYA contracts available and many may offer one of the HUNDREDS of TYA Equity contracts available each year.
Type of Performance: Even within the same company, some contracts are for in-house performances, some for national tours, some for small local tours.
Hours of Rehearsal/Performance: Most TYA rehearses and performs during the day. Don’t be the one who auditions and then realizes you can’t also have a day job.
Terms of the Contract: Some contracts, especially in TYA, may have additional requirements you weren’t expecting. Daily setup/strike, running your own tech, lifting heavy equipment, 5am call times, daily audience talkbacks, four-show days, etc. It’s not for everyone, so make sure you know what is expected and that the theatre knows you’re aware.
Target Audience: While most TYA is happy to perform for the whole family, TYA usually is targeted to a specific age group. Knowing this can greatly help you decide how to approach your audition. DO audition like you’re performing for that age, but DO NOT belittle them, the top TYA companies never talk down to their audience. And PLEASE don’t treat the audition panel like kids.
You must be trusted: The largest factor in getting cast in a TYA show is TRUST. Even more than adult theatre, you are more likely to get cast when the company knows and trusts you. Not just because of the morning call times, and cast morale, but because there are LOTS OF KIDS around. I get sick of hearing, “TYA is a boys club, I’ll never get in.” The truth is, it’s not exclusive, it just requires a lot of trust. Someone in the company will have to vouch for you, so you might have to get to know a few people in the company to get your “in.”
TYA auditions don’t have to use TYA specific songs. I always stress to performers, it’s better to pick a song you know that doesn’t fit the character, than to go into an audition unsure you know every note and word of a song. BUT, if you have time to learn something new check out my list of TYA Audition Songs or do a quick search on MusicalTheaterSongs.com!
It’s really unfortunate that so many great TYA shows don’t have sheet music easily available. Of course MusicalTheaterSongs.com is a great resource to find places where songs are available. I’ve included links below to the songs found in the database on this site. Still, there is so much out there and yet even many of the most popular appear to only offer sheet music through a fully licensed production. If you’ve seen a TYA show you loved, I encourage you to find contact information and ask the writing team for hard to find sheet music. Some of my all time favorites aren’t on this list because the sheet music isn’t easily available.
This list is some suggestions of great TYA songs that ARE easily available. Don’t stop here though, there’s so much good stuff out there. Take a look at other works by these composers. Reach out for that unpublished sheet music. Find something you love!
And remember, you can also just sing your normal audition songs at a TYA audition, as long as the content would be ok to sing in front of your 7 year old niece. But just in case your entire book is pulled from Oh! Calcutta:
“All for You” from Seussical by Lynn Ahrens and Stephen Flaherty
Last year marked the 20th anniversary of Walt Disney’s first Broadway musical endeavor, Beauty and the Beast. Over the past two decades, Disney’s presence on The Great White Way has grown exponentially. As of 2015, the company has produced a whopping TWELVE Broadway shows (with more on the way). Now seems like a good time to shine a spotlight on some great, lesser-known Disney solo songs you may want to consider adding to your musical theatre audition book.
One important thing to remember about Walt Disney is that the company’s legacy extends all the way back to the 1920s. As a result, you have access to almost a century’s worth of Disney tunes to browse through and choose from. Remember, most directors and music directors don’t want to hear “Let it Go” from Frozen for the millionth time! If you’re serious about auditioning for professional-level Disney productions, take the time to sift through the company’s huge catalogue of songs in order to find the perfect selection(s) for your voice, age, ‘type’, etc. In the mean time, here are ten of my personal favorite Disney tunes to give you some ideas!
1. “Will the Sun Ever Shine Again?” from Home on the Range (2004) Home on the Range, one of Walt Disney’s last hand-drawn animated films, probably wasn’t the commercial hit the studio was hoping for in 2004. However, long-time Disney composer Alan Menken and lyricist Glenn Slater were certainly up to the challenge of writing the film’s songs (the two songwriters would later collaborate to bring The Little Mermaid to Broadway in 2008). “Will the Sun Ever Shine Again” is a touching, country/folk-inspired ballad that could easily be sung by either a man or woman (the recording below is sung by American blues singer, Bonnie Raitt). The song’s range is very manageable, and the melody is simple enough that the actor/actress can focus on expressing the heartbreaking sentiments presented in the lyrics.
2. “The Age of Not Believing” from Bedknobs and Broomsticks (1971)
Remember that 1970’s Disney classic where Angela Lansbury single-handledly fights an army of Nazi troops (and WINS)? Bedknobs and Broomsticks is one of Disney’s greatest live-action/animated hybrid films, and it features several fantastic tunes (some of which were cut from the film and restored in recent DVD releases). One of those tunes is “The Age of Not Believing”, a Sherman Brothers composition in which Lansbury’s character explains to the children in her care that adults often become skeptical and lose their childhood sense of wonder and imagination as they get older. However, that magic isn’t necessarily gone forever, and it can sometimes be found again simply by looking inside rather than out. Yes, it’s a very Disney-esque notion, and it works quite well in this song.
3. “Le Jazz Hot” from The Aristocats (1970) A few years ago, Disney began their Lost Chords Project. The idea behind the project is to showcase lost and/or forgotten songs from Disney films over the years. These new Lost Chords albums feature original demos of forgotten songs along with new, fully-orchestrated versions as well. Below, you’ll find a brand new recording of “Le Jazz Hot”, a deleted song from Disney’s The Aristocats. It’s a sultry, jazz and blues-inspired piece written by The Sherman Brothers, and it would make a great audition selection for both Disney and Jazz enthusiasts. Warning: you may be humming this song all day after listening!
4. “Written in Stone” from Mulan (1998) Did you know that Broadway composer/lyricist, Stephen Schwartz (Godspell, Pippin, Wicked), was originally hired to write songs for the late 90’s Disney animated film, Mulan? It’s true! However, Schwartz had a falling-out with Disney and left early on into the film’s development. Fortunately, a few songs he wrote for Mulan have surfaced over the years, including this absolutely stunning piece titled “Written in Stone” (sung below by Broadway-veteran, Lea Salonga, of Miss Saigon and Les Misérables fame). Sidenote: Lea provided the singing voices for two 90’s Disney animated film princesses: Mulan and Jasmine. Although “Written in Stone” never made it into Mulan, the song is currently featured in the film’s stage adaptation for children, Mulan, Jr.
5. “I’m Still Here” from Treasure Planet (2002) Your first thought might be, what the heck is ‘Treasure Planet’? Treasure Planet was Disney’s sci-fi adaptation of Robert Louis Stevenson’s classic adventure novel, Treasure Island. The film received lukewarm reviews upon release, and, like many Disney animated films released between 2000-2009 (excluding Pixar flicks), Treasure Planet has fallen into relative obscurity. However, the film’s songs, written by Goo Goo Dolls frontman, John Rzeznik, are really pretty thrilling. “I’m Still Here” (aka Jim’s Theme) is a great story-driven, pop/rock power ballad that would work well in auditions for Disney’s soft rock stage musicals like The Lion King, Aida, Tarzan, etc.
6. “Never Again” from King David (1997) King David is sometimes described as a modern oratorio, with music by Alan Menken and book and lyrics by Tim Rice. The show was written to commemorate the 3,000th anniversary of the city of Jerusalem. In 1997, a limited-engagement, concert version was produced by Disney Theatrical Productions at the New Amsterdam Theatre in New York City. Since then, King David has mostly fallen under the radar (though NYU Steinhardt produced a concert version of the show in 2008). Though largely forgotten today, the show’s score features some great tunes, including “Never Again”, a heart-wrenching ballad originally sung by Broadway legend, Judy Kuhn (Les Misérables, Chess, etc.).
7. “He’s a Tramp” from Lady and the Tramp (1955) / On the Record (2004)
After the Broadway success of Beauty and the Beast, The Lion King, and Aida, Disney began brainstorming new ways to showcase their wide catalogue of songs from throughout the company’s history. Eventually, they developed On the Record, a musical revue which features new arrangements of Disney tunes from the past and present. One of the most exciting songs from the revue is this arrangement of “He’s a Tramp” from Disney’s Lady and the Tramp. It’s a great jazz-y duet for two female belters, but it could easily be reworked to function as an audition solo as well.
8. “Everything That I Am” from Tarzan: The Musical (2006)
Not all of Walt Disney’s Broadway efforts have been successful. In 2006, the company adapted their 1999 animated film, Tarzan, into a full-scale Broadway musical. The show featured a book by David Henry Hwang and included several new songs written by the film’s composer and pop/rock legend, Phil Collins. The original Broadway production received mixed reviews and closed relatively quickly, but a few of that production’s original songs have endured. One such selection is Tarzan‘s eleven-o’clock number, “Everything That I Am”, a great male solo that is perfect for a performer with killer acting and vocal chops.
9. “One Dance” from The Little Mermaid (1989)
There are many cut/deleted songs from Disney films and stage shows floating around out there, but you’d be hard pressed to find one as gorgeous as this ‘I Want’ song originally written for the character, Ariel, in Disney’s The Little Mermaid. Actress Jodi Benson, who provided the singing voice for Ariel in the film, even recorded a demo of the song (which you can listen to below). As you might guess, the song was ultimately replaced by “Part of Your World.” Another fun fact about The Little Mermaid: both Jodi Benson and Sierra Boggess, who played Ariel in the original Broadway stage adaptation, attended Millikin University in Illinois.
10. “Made of Stone” from The Hunchback of Notre Dame musical (1999/2014)
Back in 1999, Disney premiered a German-language stage adaptation of their animated film, The Hunchback of Notre Drame, in Berlin, Germany. The production featured several new tunes written by the film’s songwriters, Alan Menken and Stephen Schwartz. The show’s development was stalled for almost a decade afterwards, but Hunchback recently received an English-language, pre-Broadway try-out at La Jolla Playhouse in California last year (and then transferred to the Paper Mill Playhouse in New Jersey). Although the show will not transfer to Broadway right now, we will get a cast album this year. The Hunchback of Notre Dame is one of Disney’s most ‘adult’ efforts to date, and both the film and stage musical feature some of Alan Menken and Steven Schwartz’s most ‘mature’ songs. Below, you can hear an early version of one of Quasimodo’s songs from the stage version, titled “Made of Stone” (around the 27:00 mark). The song ends with a stunning High C- though the piece has been reworked somewhat in recent productions.