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July 28, 2011 (Thursday)

7:30 a.m. – 9:45 a.m. Registration and Refreshments, room 210

10:00 a.m. to 12:00 noon Session One, room 145

Panel Discussion with our Gals and Guys of Broadway - Mary Anna Dennard, Catherine H. McNeela, Tracey Moore, Leda Scearce, Ann Evans Zavada, Craig Carnelia, and Terence Goodman. Moderated by Don Simonson, President of NATS

12:00 – 2:00 p.m. Lunch Break

2:00 p.m. – 3:45 p.m. Session Two, Room 145: Terence Goodman, Director

"What They Are Looking For: An Auditioning Perspective from Both Sides of the Table"

In this session, Mr. Goodman will discuss what he believes Directors are looking for from the person auditioning, not only in the initial audition, but for the callback as well. What those differences are, what is expected professionally, and what adjustments can be made. The discussion will include topics from appropriate clothing, to your 8x10 photo, from courtesy small talk, to dealing with the accompanist, from appropriate music selections, to egos (yours and theirs), from vocal and physical mishaps and how to deal with and/or cover them, to "acting a song" or "singing a song" (which is best and when). Also included in the discussion will be information on auditioning for chorus or principle and the difference in style, to making excuses (when and if they are ever appropriate), and other fine minutia that can get you cut or get you a job in professional theater.

3:45p.m. – 4:15 p.m. Refreshment Break, room 210

4:15 p.m. – 6:00 p.m. Session Three, Room 145 Ann Evans, Author of The Belt Book

"Belt & Belt/Mix Repertoire for Music Theater: What It Is, Where to Find It, and How to Choose It"

Did you know that there are eight musicals that have won Pulitzer Prizes, and that all eight require at least one performer to use a belt or belt/mix quality? This session will examine the belt and belt mix styles of music theater literature. There will be a short lecture/demonstration of the history of Music Theater belting followed by learning how people in the industry define belt and belt/mix sounds. We'll take an audio stroll through good and not so good examples of this style. There will be a presentation on how to find belt and belt mix literature, and how to choose songs for individual students, their voices, and their "types."

6:00 p.m. – 8:00 p.m. Dinner

8:00 p.m. – 9:45 p.m. Session Four, Ann Belk Theatre

Master Class with Craig Carnelia

July 29, 2011 (Friday)

7:30 a.m. – 9:45 a.m. Registration and Refreshments, room 210

10:00 a.m. – 11:45 a.m. Session Five, room 145

Music Theater Insights and "My Songs" with Craig Carnelia

12:00 – 2:00 p.m. Lunch Break

2:00 p.m. – 3:45 p.m. Session Six, room 145

"My Story" with Catherine H. McNeela

3:45 p.m. – 4:15 p.m. Refreshment Break, room 210

4:15 p.m. – 6:00 p.m. Session Seven, room 145

Tracey Moore, Author/Teacher, Acting the Song: Lecture and Demonstration with Students

6:00 p.m. – 8:00 p.m. Dinner

8:00 p.m. – 9:00 p.m. Session Eight, Ann Belk Theatre - Ann Evans and Evan Zavada

"Take Flight: A Contemporary Music Theater Cabaret"

Join actor/singer Ann Evans in a soaring evening filled with music by the new, newer and newest composers of American Music Theater song. Learn the legacy of our new composers, and leave the performance hall humming some wonderful songs you may not have heard.

July 30, 2011 (Saturday)

7:30 a.m. – 9:45 a.m. Registration and Refreshments, room 210

10:00 a.m. – 11:45 a.m. Session Nine, room 145: Leda Scearce, MM, MS, CCC-SLP

"Across the Divide: A Comparison between Classical and Music Theater Singing Techniques, Mechanics and Vocal Health Issues"

Classical, Music Theater Legit and Music Theater Belt vocal styles vary by a number of physiological characteristics. Music theater singers are also often required to sing in a variety commercial singing styles, such a rock, pop, jazz, country, etc., further expanding the range of techniques and skills they must master to achieve professional success and vocal longevity. This presentation will examine the physiological and mechanical differences among these vocal techniques, such as primary muscle activation (thyroarytenoid vs. cricothryroid), subglottic pressure, degree of glottic closure, thickness of vocal fold edges, larynx height, degree and location of muscular compression, tongue position, lip position, etc. In addition, the classical and music theater singing professions have differing expectations relative to vocal demands and performing schedules, range of acceptable vocal sounds, and use of amplification and sound enhancement, which require careful attention to optimizing vocal pacing, vocal efficiency and vocal habits. These different vocal techniques have differing implications for pedagogical decision making, risk of vocal injury and vocal rehabilitation, therefore voice teachers and vocal healthcare providers who work with both styles must have a firm understanding of the similarities and contrasts relative to the physiology of these techniques in order to guide their students on the path to technical mastery and vocal health.

12:00 – 2:00 p.m. Lunch Break

2:00 p.m. – 3:45 p.m. Session Ten, room 145 -Mary Anna Dennard, Author/Teacher

"I Got In! The Ultimate College Audition Guide for Acting and Musical Theatre"

Workshop Ends – Depart for Home