| Have you ever seen a Broadway show in Chicago or | | | | you're making it up though. |
| New York? If so, it was probably greatly enjoyed by | | | | Another big thing is remember lines. Unless you have a |
| all. But most people don't know how much effort it | | | | photographic memory, you need to remember your |
| took just to pull that show off. It takes a great director | | | | lines and get off script as soon as you can. Highlighting |
| who knows what he/she is doing, a great producer, | | | | all of your actions, dialogue, and/or singing cues helps |
| stage manager, lighting designer, set designer, sound | | | | you to remember. Also something that I use to cue |
| directors, choreographer, costume designer, and most | | | | myself is learn who speaks before your line and let |
| importantly an orchestra to play those wonderful tunes | | | | them cue you! It works vice-versa. If you say |
| in the pit! Then there's the cast. The cast are the | | | | something and you know who is supposed to speak |
| actors who will be on stage most of the time. At least | | | | next, you can try and cue them along by saying |
| visibly. If you're thinking about joining a stage production, | | | | something like, "Right, your Majesty?" or "What do you |
| you have to be dedicated, punctual to all the practices, | | | | think, Alice?" This might help cue them. If you |
| learn your stage directions, your lines, your | | | | completely blank out, just adlib, or make up some lines |
| choreography, keep your costume in line, you need to | | | | that make sense to the story which leads me to my |
| be able to project well so people can hear and see | | | | next suggestion. Make sure you know the story, this |
| your wonderful face and singing voice. It takes A LOT! | | | | will help you 'adlib' in times of crisis. |
| And I mean that. | | | | Now, people are usually good at acting but they are |
| Choreography are your dance moves or actions. | | | | afraid to audition because it's a musical and they can't |
| There is a lot of choreography involved in musicals. | | | | sing. It's okay if you can't sing, if you're that insecure |
| The choreography should be creative and in time with | | | | about singing on stage, there are usually non-singing |
| the music. Also, you want to smile, a lot. Always | | | | roles for you. OR just try out for the role you want |
| overact things because the audience only sees half of | | | | because you can sometimes speak-sing your notes or |
| what you think you're doing so be big unless told | | | | just sing them an octave lower or higher or within your |
| otherwise by your director. Choreography is usually | | | | singing range. Try your best and it's always better to |
| very easy to learn, and you get the hang of it after a | | | | sing loudly even if you can't sing because people don't |
| while. Plus, if you forget what moves your supposed | | | | really care if you can't sing or not. They just want to |
| to be doing, look over at other people dancing or if | | | | hear the song. Everyone can sing, you just have to |
| your individual, be your character and make up your | | | | practice at it. Try your best at singing because you |
| own dances in time to the music; don't let it show that | | | | never know what you are capable of until you try. |