LAMTA Essential Info & Fees
2020 Applications Now Open
Submit your online application here!
Sitting on the other side of the audition table is something we hope all performers get a chance to do at some stage in their careers, it is an incredibly eye-opening experience. For starters, you will quickly come to the realization that every single person on the audition panel is vying for you to be amazing – the second you walk through the audition door! Secondly, every person on the audition panel has an enormous amount of respect and empathy for the stressful task you are about to undertake. Auditions are no easy task, we understand this. We also understand nerves and anxiety. Auditions are however the only way that creative teams can ascertain if you are right for a show, a role and in this case a course. Knowing that we want you to be great and that we are behind you every step of the way, should encourage you to give this opportunity all that you have got.
Audition technique is something that we will thoroughly cover as part of our LAMTA course but, because we want to give you the best chance possible, we have put together a detailed Audition Information booklet containing all the audition requirements as well as our “Top 20 Audition Tips” for you to consider whilst preparing for your upcoming LAMTA audition. This will be sent to you on application.
Cape Town, 9th June
Johannesburg, 13th July
Cape Town, 3rd August
Cape Town, 8th September
Durban, 29 September
Further Dates TBA
Certain allowances will be made for auditions to be sent to us via video submission. Please contact us with regards to requesting a video audition.
Essential Audition Info
1. Apply by sending an email to firstname.lastname@example.org
2. Audition times slots will be allocated via email within 5 days of application.
3. Your audition will consist of 4 Parts:
Part 1: Two contrasting Musical Theatre songs
Part 2: Two contrasting monologues
Part 3: Taught dance class & combination
Part 4: Personal Interview
4. Results will be emailed to you within 1 month of your audition.
R650 (non refundable)
LAMTA is a 3-year course
Cost of the Course at LAMTA 2020
Registration and Enrollment Fee
WHAT TO WEAR
What you wear on your audition day says a lot about you, so choose carefully. Remember, an audition is like a job interview, so you would never arrive looking slovenly. You should arrive somewhat dressy, appropriate, tasteful and a little conservative. Here are some of our suggestions:
Females: pants or a skirt and blouse, or a simple dress. No denim, shorts, or extreme miniskirts. No flip-flops, trainers or crocs. Character or jazz shoes are acceptable. Makeup should be light and natural. Hair should be cleared away from your face.
Males: casual but nice, pants or chinos, a shirt and/or sweater. No shorts. No flip-flops, trainers or crocs. Hair should be styled away from your face.
As the singing, acting and interview components of your audition will happen together, choose one outfit that works for all three sections. You will then change into your dance gear for the dance component.
Make sure you are well-groomed. Your hair should be neat, you should look fresh and smell good.
Please remove any jewellery, and extreme piercings (tongue, nose etc)
You are auditioning for training, not for a particular play/musical, so do not come dressed up in character.
Wear clothing that makes you feel comfortable, in which you can move freely and without restriction.
Practise all your audition material in the shoes you plan to wear. Ladies be careful of extremely high heels.
If you look good, you′ll feel good!
LAMTA ADMISSIONS PROCESS
Two contrasting 32-bar song selections: one ballad and one up-tempo.
1. One of your 32-bar cuts must be from the “old-school” musical theatre canon (pre 1968), in the style of, for example: Rodgers and Hammerstein, Lerner and Loewe, Leonard Bernstein, Cole Porter, Irving Berlin, Kurt Weill, Cy Coleman, Jule Styne, George Gershwin, Comden & Green, etc.
2. Your other 32-bar cut must be from the contemporary musical theatre canon, in the style of, for example, Andrew Lloyd Webber, Boublil and Schonberg, Stephen Schwartz, Alan Menken, Jason Robert Brown, Jonathan Larson, Andrew Lippa, Lin-Manuel Miranda, Elton John, Pasek and Paul, Tom Kitt etc.
3. Your selections must be from professionally produced musicals.
4. An accompanist will be provided for your singing assessments. Please do NOT accompany yourself with any musical instrument or backing track and do NOT sing A Cappella,
5. Please bring the appropriate sheet music for your songs – ie, the piano-vocal selections. Your songs must be in the correct keys for you. The pianist will NOT transpose your songs, nor will they accompany you if your music only has the vocal line and no piano part.
6. Sheet music of the whole song must be placed in a flip-file & each 32-bar cut must be clearly marked.
7. Be prepared to sing the entire song if the panel requests it, or another section of the song.
8. Please note that the panel may ask to check your vocal range.
9. Choose material that is suitable for your age and experience and fits comfortably within your vocal range.
10. Choose songs with which you can communicate a specific situation in a clear context with an objective or goal. Make the situation as honest and connected as possible.
11. Lessons from a suitable music teacher in preparation for this part of the audition would be an advantage.
Two contrasting monologues from a contemporary play & a classical play. Comic or dramatic.
1. Each monologue should be no longer 2 minutes in length.
2. All monologues must be from published plays or scripts; no original material.
3. Please choose material that is appropriate for your age & experience – roles you are likely to be cast in.
4. Props and costumes are not recommended unless absolutely necessary to the scene or character.
5. Perform your monologues within the context of the entire play.
6. Applicants should fully prepare and memorize their material.
7. Be prepared to answer questions and discuss the play and its author, if asked.
8. Choose material that you can relate to and fully understand.
9. Do not deliver your monologue directly to the audition panel, unless the piece or the panel specifically ask this of you. Rather choose a point of focus at or near eye level on the wall behind the audition panel. Do not speak to the floor or to furniture!
10. You may be stopped at any time, especially if the audition panel are pushed for time or if they have seen enough to assess your work.
11. No accents or dialects, as we want to hear your natural voice.
A taught class & combination.
1. Your dance assessment requires no immediate preparation. You will be asked to join a group dance audition consisting of a warm-up (a few ballet barre exercises, centre exercises), combination steps across the floor as well as a short jazz combination. The combination will be taught to you as a group and will then be assessed in smaller groups of two or three.
2. All candidates will be expected to participate in the dance evaluation. The purpose of this evaluation is for us to learn where you are in your own dance/movement life, not to choose the best dancers in the class. As with all the assessments in the audition, we are not looking for finished products but we are certainly looking for ‘potential’.
3. Females should wear character shoes, jazz shoes or ballet shoes. Leotards, tights, or dance skirts. No oversized, bulky or floppy clothes. We need to see your line and figure.
4. Males should wear jazz or ballet shoes. If you do not have these kinds of shoes, then sneakers for jazz or socks for the ballet routine will suffice. Tights, jazz pants, t-shirts or shorts. No oversized, bulky or floppy clothes. We need to see your line & figure.
5. Please bring all types of dance shoes that you have at your disposal; jazz shoes or boots, ballet pumps, sneakers, and dance heels (for the females).
1. The audition panel will engage with you in a short question and answer session.
2. Use this opportunity to talk to us and allow us to get to know you a little better. We’ve watched you work as an artist and now we want to know about you a little more personally.
3. Tell us about your goals and aspirations for studying at LAMTA, what you are passionate about and what your expectations are around being a professional performer one day.
4. Please provide us with a headshot and short biography, listing all the training and teachers you have had to date as well as any roles you may have performed in professional or semi-professional productions. Please do NOT include press-clippings, reviews or photographs of you in character.