2021 SUMMER COLLEGE AUDITION WORKSHOP - Student & Parent Handbook Online Edition - Broadway Artists Alliance
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2021 SUMMER
COLLEGE AUDITION WORKSHOP
Student & Parent Handbook
Online Edition
1TABLE OF CONTENTS
Program Overview Page 3
Student Preparations Page 5
Important Deadlines Page 5
Preparations Check List Page 6
Sample Schedule at a Glance Page 7
What to Prepare Page 8
Song Selection Guidelines Page 10
Monologue Selection Guidelines Page 11
Headshot and Resume Guidelines Page 13
Resume Examples Page 15
BAA Program and Cancellation Policies Page 17
2The Summer College Audition Wor kshop
OVERVIEW
BAA’s College Audition Workshop is designed to assist high school juniors and seniors who plan to audition for
collegiate and conservatory performing arts programs. Choosing material for your college audition and going
through the senior year audition process can be both exciting and daunting for performers and their parents! How
do you get into top colleges and conservatories that will springboard your professional career? The College
Audition Workshop will take the guess work out of the entire process for you. In this four-day intensive, we will
cover the application process, pre-screen videos, financial aid resources, song and monologue selection, audition
technique, dance calls, the selection of your final list of colleges, a time line for juniors and seniors, and the best
protocol for thank you’s and follow-up’s. With the direction of BAA’s Expert Staff, you will choose audition
material that highlights your individuality and performance strengths, while meeting the requirements and
preferences of your top choice schools. The Workshop will conclude with a “Mock Audition”, where you will
present a complete audition package to a panel of top College Program Directors and Faculty to receive individual
feedback!
The 2021 College Audition Workshop will be led by:
J ennifer J ohns (Pace University Faculty, NYU Faculty, UArts Showcase Producer, BAA's Artistic Director, etc.)
Bob Cline (Pace University Faculty and Admissions, Top NYC Casting Director)
Additional special guests and showcase panelists may include, but aren’t limited to:
Program Directors, Faculty, and Admissions Guests from Manhattan School of Music, Boston
Conservatory, New York University, Marymount Manhattan College, Cap 21/Molloy College,
Otterbein College, Temple University, The New School, Montclair University, Rider University,
Boston University, Webster University, and more!
BEFORE OUR TIME TOGETHER
You will….
• Be contacted via email by your own personal Student Advisor who will guide you through choosing your
song and monologue selections as you prepare for the workshop. Your Student Advisor/ Expert College
Coach will reach out to you on or before Tuesday, June 8th.
• Receive a complimentary 30-minute online coaching with your Student Advisor/Coach, who will talk
through your initial “Smart List” of colleges and help you get a jump start on choosing a smart audition
package of material (Songs and Monologues). Student Advisors will schedule your coaching on a date that
is convenient for you both before Monday, June 28th. This coaching is meant to help you prepare to get
the most out of your Online College Audition Workshop Weekend.
3DURING OUR WEEKEND WORKSHOP TOGETHER
We will….
• Discuss a variety of musical theatre and acting programs and develop a list of schools that you may be
interested in auditioning for based on academic and artistic credentials.
• Walk you through the process of college tours and visits, applications, pre-screen videos, live auditions,
admissions and program director correspondence and follow up, financial aid, final decisions and more!
• Help you develop a timeline for your junior and/or senior year with all pertinent upcoming dates.
• Guide you in choosing audition material that highlights your personality and performance strengths!
• Introduce you to a large number of monologues and pre-1970 musical theatre songs that you may be
unfamiliar with but might be the right fit for your audition.
• Help you showcase yourself at your very best! Through online master class work and private coachings,
we will discover what makes you unique as an artist and create an audition package that will make you
stand out from the crowd. Are you an engaging storyteller who can successfully share the Who, What,
When, Where, Why, and How of your material? Are you a skillful technician who knows how to best
showcase your vocal range and physicality? Is there something new you can bring to the piece that we
have never seen before? Why is it that you are you speaking or singing these words, now? What would
you like to be sure the college admissions panel knows about you by the time you have left the room?
• Leave the College Audition Workshop with a list of at least 10-15 schools to target on your college
audition journey. Our goal is to give you a realistic idea of which schools are likely to be a strong “fit” for
your particular talents and academic abilities, as well as the schools that should remain on your list as you
continue to “reach” for your ultimate career goals and ideal collegiate experience!
4IMPORTANT WORKSHOP PREPARATION
To ensur e that you get the most out of your College Audition Wor kshop exper ience, it is VERY
IMPORTANT that you e-mail the following infor mation to your assigned student advisor/ college
coach as promptly as possible. Your per sonal advisor will be r eaching out to you dir ectly via email by
Tuesday, J une 8th .
• Student Fact Sheet (A Link to your Fact Sheet is also included in this email)– In order for you to
get the absolute best experience from this workshop, we’ll need to get a clearer picture of who
you are and what is most important to you in choosing a college program. This Student Fact Sheet
will help us compile a dossier of colleges and universities that may be a good fit for you, and it
will also be helpful information for your Student Advisor to have before your online coaching
session with your Student Advisor.
• Monologue and Song Selection – Please email your Student Advisor a list of the songs and/or
monologues that you are considering using for the Workshop so they can let you know if you’re
on the right track or if you need to make adjustments in material before you attend.
• You will get the most out of your workshop experience if you utilize the weeks before you arrive
to prepare your material! We will help you along and provide feedback every step of the way!
Important Deadlines:
J une 8th , 2021 You will hear from your Student Advisor/ College Coach via email by this date
and will coordinate a complimentary online coaching before the Workshop.
J une 14th , 2021 Deadline to complete online Student Fact Sheet for ms and to submit your
headshot, resume, and song/monologue material to your Student Advisor for
approval.
J une 24th , 2021 Deadline to submit your Online Release For ms (link included in your
Advisor ’s Email!)
J une 28th , 2021 We recommend that you should have completed your 30 minute online
coaching with your Student Advisor by this date (1 week before your
intensive!)
J uly 1st , 2021 Provided you have sent your advisor all appropriate materials and completed your
Online Release forms, you will be sent a link to choose your elective classes for
the wor kshop!
.
5College Wor kshop Pr epar ation Check List:
✓ Student AND parent read this Handbook cover to cover
✓ Complete online Student Fact Sheet
✓ Submit song and/or monologue choices, headshot and resume to your Student Advisor for
approval
✓ Schedule and participate in a complimentary online coaching with your Student Advisor
✓ Memorize and rehearse your songs and/or monologues
✓ Send finalized songs and/or monologues choices with your Student Advisor
✓ Download your Zoom account and test your sound and video connections.
(NOTE: Additional College Audition Prep Coachings and Pre-Screen Filming can also be scheduled!
• Reach out to your Advisor if you’d like to schedule extra private coachings before or after your
Workshop!
• Click here to see information about the 2021 Prescreen Express Schedule.
Attendance Request
• Even though we are moving to an online platform, because students in the College Audition
Workshop must accomplish a great deal in a short period of time, we ask them to be fully present
online every day for the full day on Saturday and Sunday. Please do not make personal plans that
will interfere with online class time.
6Important Workshop Information at a Glance
Location
We will be using a Zoom Platform so that you can sign in from the comfort and safety of your own home.
Online Spring College Audition Workshop: July 5th-July 8th
Monday, July 5th 10:00AM 3:00PM
Orientation, Orientation Monologue Madness
Monologue Madness Class AM Songs Class PM Monologues
Coachings by appt Coachings by appt
and Online Private Coaching Day
6:00PM Approx. End
Tuesday, July 6th 10:00AM Start 6:00PM End
Online Group Master Classes
Full Day with one lunch break
Wednesday, July 7th 10:00AM Start 6:00PM End
Online Group Master Classes
Full Day with one lunch break
Thursday, July 8th 10:00AM Start 6:00PM End
Mock College Audition Day
Full Day with one lunch break
Dates and Times
Monday, July 5th – Group AM Orientation and Afternoon Monologue Madness Hour, Receive Two
Additional Online Private Coachings before the College Faculty Master Classes Begin! (Your AM Coaching
will focus entirely on songs; Your PM Coaching will focus entirely on monologues.) Coachings will be
scheduled individually with you. You should expect to be available the whole day 10am-6pm.
Tuesday, July 6th - Thursday, July 8th – Online Spring College Audition Workshop College Master
Classes (10am-6pm Daily) Please expect to be fully available from 10am-6pm Daily. We will always take
an hour lunch break.
Special master class guests and showcase panelists may include, but aren’t limited to: College Faculty
Guests from Boston Conservatory at Berklee, Boston University, Cap 21/Molloy College, Florida State
University, Manhattan School of Music, Marymount Manhattan College, Montclair University, Nazareth
College, New York University, Otterbein College, Pace University, Shenandoah Conservatory, SUNY
Cortland, Temple University, The New School/Mannes College of Music, Rider University, Webster
University, Western Connecticut State University, University of Central Florida, University of the Arts,
University of Michigan, and more!
7WHAT TO PREPARE
We know that the more prepared you are for the College Audition Workshop, the more you will get out
of your time with us. Below is a list of required and suggested materials to help you get ready and do
your best work!
Musical Theatr e Audition Candidates –
✓ REQUIRED: Two Contr asting Songs – We recommend one Ballad and one Uptempo, and
one of your selections MUST be written before 1970. Please have digital copies of the sheet
music of your approved songs ready to email to your coaches and instructors. YOUR SONGS
MUST BE APPROVED BY YOUR ADVISOR AND MEMORIZED!
✓ REQUIRED: One or Two Monologue(s) – Your piece(s) may be contemporary or classical,
so we recommend looking at the requirements of some of your top choice schools when
making this selection. Please have digital copies of your approved monologues ready to email
to your coaches and instructors. YOUR MONOLOGUE(S) MUST BE APPROVED BY
YOUR ADVISOR AND MEMORIZED!
✓ REQUIRED: Headshot and Resume- MUST BE APPROVED BY YOUR COACH!
✓ REQUIRED: Two audition outfits- These should both be comfortable and show off your
personality for your Mock Audition Panel. They do not necessarily have to be “dressy”, but
should be neat and tidy, and should make you feel GREAT!
✓ RECOMMENDED: At least two additional contrasting songs that you think might be good
material for you. These songs do not have to be memorized and they don’t need to be pieces
you’ve worked on previously. If you have an audition “book”, feel free to bring that with you.
✓ RECOMMENDED: A list of any additional colleges that you might be interested in outside of
what you originally listed on your Student Fact Sheet.
✓ RECOMMENDED: Mock Audition Outfit, including dance attire and footwear. Heeled
character shoes (for ladies) and/or tap shoes are encouraged for strong dancers, but not
required!
8Acting Audition Candidates –
✓ REQUIRED: Two Monologues from Published Plays- You must bring at least one,
preferably two Contemporary pieces (post-1900) and one Classical piece (Shakespeare or pre-
1900). Please have digital copies of your approved monologues ready to email to your coaches
and instructors. YOUR MONOLOGUE(S) MUST BE APPROVED BY YOUR ASSIGNED
COACH/ADVISOR BEFORE THE WORKSHOP AND MEMORIZED!
✓ REQUIRED: Headshot and Resume- MUST BE APPROVED BY YOUR COACH!
✓ REQUIRED: Two audition outfits- These should both be comfortable and show off your
personality for your Online Master Classes and Mock Auditions. They do not necessarily have
to be “dressy”, but should be neat and tidy, and should show off your personality and make you
feel GREAT!
✓ RECOMMENDED: Two additional contrasting monologues that you think might be good
material for you. These pieces do not have to be memorized and they don’t need to be pieces
you’ve worked on previously. Additionally, you will become aware of more monologue
material during the workshop’s “Monologue Madness” work session!
✓ RECOMMENDED: One or Two Song(s) – Your song(s) may be from any time period, so we
recommend looking at the requirements of some of your top choice schools to see what you
may need for your auditions. Please have digital copies of the sheet music of your approved
songs ready to email to your coaches and instructors.
✓ RECOMMENDED: Mock Audition Outfit, including dance attire and footwear. Heeled
character shoes (for ladies) and/or tap shoes are encouraged for strong dancers, but not
required!
✓ RECOMMENDED: A list of any additional colleges that you might be interested in outside of
what you originally listed on your Student Fact Sheet.
9Song Selection Guidelines
When choosing your songs for BAA’s College Audition Workshop, it’s a good idea to
bear in mind the following:
1) You should love singing the pieces you choose. We want to enjoy your performances
and that starts with YOU enjoying your performances!
2) Be sure to choose age/content-appropriate material. Make sure the songs you choose
are roles you could logistically play right now, or that make sense for a young person
to be singing.
3) Your cut should be 16-32 bars in length, which is 30-70 seconds of music. It should
have a beginning, middle and end, and the character should take a journey from the
start of the piece to the end.
4) For College Auditions, and for auditions in general, we do NOT recommend choosing
songs with excessive profanity or sexuality.
4.) We do NOT recommend choosing songs that are overly associated with a famous
performer. For example: “Don’t Rain on My Parade” is a wonderful song, but so many
people associate it with Barbara Streisand and Lea Michele that you will have a very
difficult time making it your own.
5.) Give some thought to whether or not your song choices might be overdone. In
general, you should avoid songs from shows like Les Miserables, Phantom of the
Opera, Wicked, Thoroughly Modern Millie, etc., because material from these shows is
well-known and often performed. BAA doesn’t have a “No Sing” list but we like to
assist you in selecting unique material that will get your college admission panel’s
attention. If you love a song from a well- known show, try to find something similar in
style instead!
6.) Enjoy researching new material! It is part of your job as a performer to become
familiar with as many musicals as possible. This knowledge will serve you well in
auditions and performances since you will have an advantage over other performers
who are not as educated. Take some time to explore cast recordings and sound
tracks. Very often, you can listen to songs by searching for them on You Tube,
iTunes, amazon.com, etc.!
7.) Learn your music and lyrics by heart! It’s difficult to work on song interpretation if
you’re still struggling to remember the material. You should also know what show your
song is from AS WELL AS THE COMPOSER(S) AND LYRICIST(S). If at all possible,
you should see or read the show your song comes from.
10Monologue Selection Guidelines
When choosing your monologues for the BAA College Audition Workshop, it’s a good
idea to bear in mind the following:
1. For college auditions, your monologues should be from published plays. Go to a
bookstore or search online for plays and monologue books that suit your age- range,
personality, and appearance. Try skimming monologue books for playwrights and
characters that interest you, then looking at the actual plays to find material that is not as
well-known.
2. Look for monologues that live in the moment, rather than monologues that recall the past.
There are, of course, exceptions to this rule, but overall, living in the present is more
captivating than hearing about the past.
3. Pay attention to the timing requirements for your piece. Make sure you read out loud and
act through a monologue to get a true sense of its performance time. Something that may
appear to take no more than 30 seconds often takes one minute or longer when you
include pauses and blocking!
4. Make sure it is something that is age/content appropriate and that shows your personality.
Your age range WILL NOT be more than mid-20’s and will not be younger than 15 years
old.
5. For college auditions, it’s best to choose characters who are similar to you in some way or
whose experience is something you can connect to authentically. Furthermore, we don’t
recommend using an accent or portraying any kind of physical ailment or disability you
don’t have in real life.
6. Don’t choose a monologue with excessive profanity or sexuality. It’s better to catch your
audience’s attention with your skillful interpretation of a monologue rather than shocking
them with inappropriate content.
7. Memorize your monologue(s)! You should also know the title of the piece, the playwright,
and the title of the play. Whenever possible, you should read the full play that your
monologue comes from.
8. Avoid the dreaded “Three D’s” – Drugs, Divorce and Death. In general, comedic and serio-
comedic pieces are going to get a better response from an Audition Panel than excessively
dramatic ones.
11GREAT PLACES TO FIND MONOLOGUES – • The Kilroys List • New Plays that may have recently been on Broadway – Check out www.ibdb.com • American Playwrights – Edward Albee, Tennessee Williams, Arthur Miller, Eric Bogosian, Donald Margulies, Chuck Mee, Lillian Hellman, Sam Shepard, Richard Greenberg, Nicky Silver, Paul Rudnick, Douglas Carter Bean, George Weller, Mac Wellman, August Wilson, Lanford Wilson, Sarah Ruhl, Clifford Odets, David Auburn, William Inge, Suzan Lori-Parks, Eric Overmyer, Eugene O’Neill • Canadian Playwrights – Plays from the Stratford Shakespeare Festival – George Walker, Sharon Pollock, Sky Gilbert, Scott Sawn, Gerry Porter • British Playwrights – Caryl Churchill, Harold Pinter, Alan Bennett, Johnathan Harvey, Sarah Kane, Howard Baker, Joe Orton, Simon Gray, George Bernard Shaw, Noel Coward, Christopher Marlowe, Lee Hall • Anton Chekhov Plays MONOLOGUES YOU SHOULD TRY TO AVOID – This doesn’t mean that you should never work on these pieces, but these are not appropriate for college auditions as they are often overdone • Anything from a Monologue Book – The monologues must be from a published play • Anything by Chris Durang EXCEPT for the Peter Pan Monologue – if done right this can be great! • Anything from “You’re A Good Man Charlie Brown” • Any monologues from “Zoo Story” – Edward Albee • Any monologues from “Danny And The Deep Blue Sea” – John Patrick Shanley • Any monologues from “Savage In Limbo” – John Patrick Shanley • Any monologues from “Our Town” – Thornton Wilder • Any monologues from “The Fantasticks” • Anything from “You’re A Good Man Charlie Brown” • Anything from “Dog Sees God” • Anything from “A My Name Is Alice” • Anything from “Five Women Wearing The Same Dress” • Anything from “Picasso at Lapin Agile” • Anything from “Brighton Beach Memoirs” • Anything from “Night Mother” • Mom’s Ashes from “I Think I Love You” • Any of the female characters or Puck from A Midsummer Night’s Dream • Lady Macbeth • Hamlet – “To Be Or Not To Be” Speech • Viola – Twelfth Night • Anything from The Children’s Hour 12
Headshot & Resume
Pr epar ation Guidelines
Your headshot and resume are your “calling card” as an actor. Here are a few guidelines to ensure that your headshot and
resume offer the most professional and accurate representation of who you are to the colleges and universities you will be
auditioning for.
HEADSHOT GUIDELINES
• Your headshot should be exactly 8”x10” (not 5x7, 7x9, or 8.5x11!). Please note: 8x10 is smaller than a
regular piece of printer paper. Please do not use postcards or composite cards.
• Most per for mer s today have headshots taken in color ; as opposed to the black and white headshots that used
to be accepted in the industry. Many actors choose to put their name at the bottom of their headshot, which
helps people to know who you are without having to turn the picture over to read your resume.
• Your headshot should be a clear pictur e of your face and it should look like you! As much as possible, you
want to match your headshot. If you have short brown hair in your picture, you should have short brown hair in
real life. If you wear your glasses in your headshot, you should wear your glasses when you audition.
• Your eyes ar e the most communicative featur e in your headshot. They should be engaged and expressive,
giving us a glimpse into your character and personality. It’s great if your headshot makes you look friendly
and easy to work with. If you are most comfortable with a non-smiling shot, you should still have a “twinkle in
your eyes.”
• It’s best to wear simple, br ightly color ed clothing in your headshot. Your outfit should be age- appropriate
with a flattering neckline, and it should be somewhat neutral (i.e. don’t wear clothing that is overly detailed or
trendy). It’s best to avoid t-shirts with words or distracting designs, formal/semi-formal dresses, bathing suits
and large jewelry pieces.
• Ideally, your headshot should be a pr ofessional photogr aph taken by a headshot photographer who is
accustomed to working with performers. If this is not possible, you may use a school photo or a snapshot, but it
must be a high resolution shot that can be resized to 8”x10”. Your headshot should NOT be a picture of you
playing a particular role.
• Your makeup should be minimal and applied by a pr ofessional makeup ar tist who under stands
headshot lighting. Many headshot photographers have a makeup artist with whom they like to work. The fee
for this artist may be included in the price of your session, or it may be extra.
• While most headshots are retouched before they are printed, it’s important to have this work done by a
professional who will use digital corrections sparingly and appropriately. Retouching may be done by your
headshot photographer, your reproduction lab, or a third party that specializes in this kind of graphic work.
• Many young per for mer s have to get br aces at some point, so ther e is no need to hide that fact. Go
ahead and show them in your headshot if your braces are going to be on for the near foreseeable future.
GETTING YOUR HEADSHOTS PRINTED
** PLEASE NOTE: ALL HEADSHOTS/RESUMES WILL BE SUBMITTED DIGITALLY FOR THE COLLEGE
AUDITION WORKSHOP, SO THERE IS NO NEED TO GET THINGS PRINTED. BELOW IS HELPFUL
INFORMATION FOR THE DAY PRINTED HEADSHOTS AND RESUMES ARE NEEDED AGAIN.
Once you have chosen the 8”x10” photo you will be using, it is your job as an actor to always have copies of it available.
It’s fastest to take it to a reproduction lab. There, a digital image or negative is created from your headshot. That image
allows you to print as many copies as you need and want to pay for. Young actors usually begin with 50-100 copies;
actors 18 and older should print 250-500 copies.
13Your headshot should be r epr oduced using a high r esolution file and should be pr inted on high quality photo
paper . Reproduction labs may offer a variety of paper weights and gloss levels, but a good rule of thumb is to get
standard weight photo paper in a semi-matte (may also be called a semi-gloss depending on the lab). Most reproduction
labs accept either a hard copy or an e-mailed digital file, and will give you the option of adding a border or your name to
the headshot. They will often provide retouching services or enlarge smaller photos to 8”x10” for you for an extra charge.
RESUME GUIDELINES
• A resume is a summary of your accomplishments. It should never be mor e than one 8”x10” page long and
should be pr inted on r egular pr inter paper . Your resume should be well organized and easy to read; it should
NOT be covered in distracting colors or graphics.
• Your name should always be at the top of your r esume in boldface type. If you are a member of a
performing arts union (AEA, SAG-AFTRA, AGVA, EMC, etc.), list it at the top of your resume. Also at the
top of your r esume, you should include your contact number and/or your agent’s infor mation (if you
have one) and your email addr ess. Make sur e to never list your home addr ess on a r esume; casting
dir ector s don’t need it for audition pur poses, and for your pr ivacy, it should not be included.
• It is customary to include your height, eye color, and hair color. Some performers also include their weight.
• If you ar e under the age of 18, you should list your date of bir th. This is not necessary if you are over the
age of 18.
• You should NOT put an age r ange on your r esume. It’s better to let industry decide this information for
themselves.
• The body of your r esume should be sor ted into thr ee columns. The left column should tell us the show you
were in, the middle column your role, and the right column the theater or producing organization for which you
performed. If you are listing a film credit, you may place either the production house (i.e. Universal Pictures) or
the director’s name where the name of the theater would be. Please make sure to sort your resume by Theatre,
Film, TV, Commercials, etc. – don’t place everything all together.
• Training, Awards/Honors, Education, and Special Skills should be listed beneath your credits. If you have not
had experience in one of these categories, it is not necessary to include it on your resume.
• The Special Skills section is an important and intriguing category on a young person’s resume. It gives the
auditors insight into who you are and the skills that you possess- whether they are performance related or not.
Can you do an impression or whistle? Do you know how to play an instrument or speak a foreign language? Are
you a fantastic soccer player or cookie baker? Your Special Skills section is the place to list these abilities! Just
be ready to demonstrate any of your skills as industry may ask you to do something you have listed!
• Your headshot and r esume should be NEATLY attached, back-to-back. You may do this using staples or
glue, or you may pr int your r esume on the back of your headshot. If you choose to print your resumes
directly onto the back of your headshots, be sure that you do so in small quantities so that you don’t waste
headshots if you have to update your resume. If you do not print your resume directly on your photos, please be
sure that you remember to trim the paper you print on to exactly the 8 X 10” size of your resume. Your resume
paper should not be larger then the 8 X 10” headshot itself. It is easy to format your word document to 8 X 10”
and make quick two cuts on the bottom and right hand side of your resume paper.
The following two pages contain two sample r esumes that you may use as a template for cr eating or editing your
own r esume!
14Michelle S. Broadway
(212) 555-5555
michelle@ilovetheatre.com
Height: 5’1” Weight: 120 lbs. Hair: Red Eyes: Green D.O.B: 9/13/1998
Stage
George M! Josie Cohan Clarkstown Summer Theatre
42nd Street Peggy Sawyer Seaside Music Theater
Grease Marty Suffern High School
Guys and Dolls General Cartwright Suffern High School
The Odd Couple: (Female Version) Florence Unger Suffern High School
The Haunting of Hathaway House Mildred Hathaway Antrim Playhouse
Remembering the Magic: Mrs. Potts Suffern Auditorium
A V.O.I.C.E.S. Disney Revue Featured Dancer Clarkstown Summer Theatre
Carousel Carrie Pipperidge Suffern High School
Crazy for You Bonnie Clarkstown Summer Theatre
Fiddler on the Roof Townsperson Suffern High School
Enter Laughing Mother Suffern High School
Concerts/ Recitals (optional category)
The Nutcracker Featured Dancer Suffern Performing Arts
BC/EFA: Broadway Rocks! Featured Singer LaMama, Etc. (NYC)
BC/EFA: Broadway Rocks! Featured Singer Wagner College
Honors (optional category)
Helen Hayes nomination for Carousel (Outstanding Duet Performance)
Suffern High School Theatre Award
Performance Training
Vocal Training (Celeste Simone, Nyack/NYC, NY)
Shakespearian Training (Gail Kellstrom, Katonah, NY)
Singing for Musical Theatre (Dr. Stanley Ralph, SUNY Rockland Community College)
Acting Through Song (The Dance Loft, Suffern, NY)
Dance Training
Jazz: 9 years of training- Alena Gerst, Wagner College, Staten Island, NY
Tap: 6 years of training- Justin Boccitto, NYC, NY; The Dance Loft, Suffern, NY; Vicki’s Dance Studio, New
City, NY
Ballet: 11 years of training- Vicki’s Dance Studio, New City, NY
Special Skills
Clarinet, French, Horseback riding, Swimming, American Sign Language, Public speaking, Ability to read
music, Basic piano and guitar, Clucking like a chicken, bakes a great chocolate chip cookie, Kristin Chenoweth
impression, Valid passport.
15Steven Silverscreen
SAG-AFTRA/ AEA
ssilverscreen@gmail.com
www.stevensilverscreen.com
Height: 5’11” Actingland Talent Agency
Weight: 180 lbs. Agent: 212-555-1234
Hair: Blonde Parent Cell: (917)-555-5555
Eyes: Green Birth date: 7/12/1996
Film
Flight of the Eagle Charlie (Supporting) Dir. James Cameron
Freedom Lt. Snider (Lead) Moving Images
Clouds Outside the City Aaron (Lead) Moving Images
Brain Dead Dr. Zombie (Lead) Freeform Art Co.
Ski & Skate Michael Z. Film Productions, LLC.
The Magic Lantern Puck Magic Lantern, LLC
Television
Wonderpets Black Sheep Nickelodeon TV
Sad Clowns Guest Star Liberty Television
Puddle Jumpers (Pilot) Principal AGP Media, LLC.
Car Wash Series Series Regular Inside-Up Prods.
Theatre
The Comedy of Errors Aegeon Theater Under the Stars
King Lear Edmund St. Mary’s High School
The Tragedy of Macbeth Duncan St. Mary’s High School
Into the Woods Jack St. Mary’s High School
Commercial
National, Regional, and International commercial experience, List available upon request
Education
Pursuing a BFA in Acting- University of Michigan Class of 2021
Broadway Artists Alliance of NYC Advanced Summer Intensive 2015 - Acting Major
Training
Acting: Jeff Torro (Scene Study), Alice Kaczinski (Film & TV)
Voice: Kyle Grant, Celeste Simone
Master Classes: Joe Langworth, Bob Cline, Kyle Dean Massey, Sutton Foster, Chris Sieber, Bridget Berger,
Megan Hilty, Laura Osnes, Pat Goodwin, Tyrick Wiltez Jones
Specials Skills
Surfing, Volleyball, Basketball, Hockey, Golf, Swimming, Water Skiing, Snow Skiing,
Rollerblading, Juggling and Basic Circus Skills, Motor Cross, Conversational French, Basic Guitar, Pie
Eating Contest State Fair Champion, Go Cart Racing, Avid Comic Book Reader, Straight A Student, Quick
Study, Valid Passport and Driver’s License.
16BAA’s CANCELLATION POLICY
**Please note that our cancellation policy has been updated as of 3.15.21 to provide more cancellation
flexibility for parents and students, in the hopes that you will have EVEN more confidence making summer
plans.
For ALL Broadway Artists Alliance (BAA) programs and classes, ALL tuitions and applicable fees remain
non-refundable, however cancellations will be allowed for a full tuition credit. We are extending the period
that a BAA tuition credit can be used from the previous two year limit, to indefinitely (no expiration date).
In addition, if you are unsure which session week (College Audition Workshop and Sessions One through
Five) will work best for you and your family’s Summer planning, your $300 deposit or full tuition payment
may always be transferred to another session (per your acceptance), for as long as space in that session
remains.
Credits may be applied to any program a student has been previously accepted to as well, as our new BAA
Conservatory Program, BAA Onstage Productions, and additional offerings. All $25 online application fees
are strictly non-refundable. We will now allow cancellations up to 2 days (48 hours) before the program
begins for health and safety reasons with a written request and doctor’s note. Tuition Credits will be issued
depending on the program, as explained below.
SUMMER INTENSIVES AND WORKSHOPS
Session Transfers and Changes: Accepted BAA Summer Session Students may request a transfer or
change from any in-person or online program, for as long as student space remains in their desired program,
with great flexibility. (BAA charges no penalty or transfer fees.)
For the 2021 Summer Season, students who received acceptance into Online Sessions One and Two and
In-Person Sessions Three and Five may request to transfer seamlessly between those programs, but must
have received prior admission to Session Four (in-person) if they wish to transfer into that session. Students
may re-audition at any time prior to the final tuition deadline (May 26, 2021) to be considered specifically
for Session Four.
Please email admissions@broadwayartistsalliance.org with space inquiries should you wish to change your
session week.
Cancellations: For healthy BAA students, a full BAA tuition credit will be issued if written notice of
cancellation is received at least thirty (30) days prior to the beginning of the program. Tuition credits
include a credit of the full deposit amount.
Students may also elect to switch from a live session to the new ONLINE Summer Session option with a
request of at least thirty (30) days prior to the beginning of the program, for planning purposes.
As an exception to this policy, in light of the pandemic: if a student is unable to attend BAA
Junior, Summer Intensive Sessions One-Five, or the College Audition Workshop for health or travel
reasons, and does not give 30 (thirty) days notice, they will be awarded a full tuition credit as long as they
are able to provide one of the following at least 48 hours before the start of the program:
1) A doctor’s note citing an illness or medical emergency of any kind. 2) A written statement of concern that
the student has been exposed to any person who has been diagnosed or is showing signs of COVID-19. 3)
Written proof of unforeseen travel issues (travel banned by local or federal authorities, cancelled flight, Act
of God, etc.). If a student is unable to provide one of these items on or before the Friday before the first day
of the program (or 48 hours in advance, whichever is favorable to the participant), BAA cannot offer a
credit for cancelled enrollment.
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17BAA reserves the right to cancel any live program if external factors might endanger participant
safety (including but not limited to health and travel related factors). In the rare event that this occurs, BAA
will offer a full tuition credit, online training options, and sufficient notice for all participants.
Because of the time frame of the student advising process for BAA’s intensive programs, there will be a $30
student advisor administrative fee deducted from any approved credit to your account ONLY if:
– A tuition credit is requested with less than 30 days of notice before the start of the program from which
you have withdrawn and your advisor has already started counseling you.
– If you cancel after January 30th (winter programs) or July 1st (summer programs) for any reason.
ONE DAY MASTER CLASSES, SPRING AUDITION WORKSHOP, AND COLLEGE
PRESCREEN EXPRESS WEEKENDS
Full BAA class credit will be issued if written notice of cancellation is received at least seven (7) days prior
to the beginning of any One Day Master Class or College Prescreen Express class. If a student fails to
attend one of the above listed programs and does not give seven (7) days notice, they must provide one of
the following at least 48 hours before the first day of the program to be eligible to receive a class credit:
1) A doctor’s note citing an illness or medical emergency of any kind. 2) A written statement of concern that
the student has been exposed to any person who has been diagnosed or is showing signs of COVID-19. 3)
Written proof of unforeseen travel issues (travel banned by local or federal authorities, cancelled flight, Act
of God, etc.). If a student is unable to provide one of these items on or before the Friday before the first day
of the program (or 48 hours in advance, whichever is favorable to the participant), BAA cannot offer a
credit for cancelled enrollment.
BAA reserves the right to cancel any program or class if less than 6 paid students have registered or if
external factors might endanger participant safety (including but not limited to health and travel related
factors). In the rare event that this occurs, BAA will offer a full tuition credit, online training options, and
sufficient notice for all participants.
THE ADULT PROFESSIONAL WORKSHOP
Full BAA class credit will be issued if written notice of cancellation is received at least seven (7) days prior
to the beginning of the January Adult Professional Workshop or a BAA Pro Series. If a student fails to
attend one of the above listed programs and does not give seven (7) days notice, they must provide one of
the following at least 48 hours before the first day of the program to be eligible to receive a class credit:
1.) A doctor’s note citing an illness or medical emergency of any kind. 2.) A written statement of concern
that the student has been exposed to any person who has been diagnosed or is showing signs of COVID-19.
3.) Written proof of unforeseen travel issues (travel banned by local or federal authorities, cancelled flight,
Act of God, etc.). If a student is unable to provide one of these items on or before the Friday before the first
day of the program (or 48 hours in advance, whichever is favorable to the participant), BAA cannot offer a
credit for cancelled enrollment.
BAA reserves the right to cancel any program or class if less than 6 paid students have registered or if
external factors might endanger participant safety (including but not limited to health and travel related
factors). In the rare event that this occurs, BAA will offer a full tuition credit, online training options, and
sufficient notice for all participants.
CREDIT LIMITATIONS
All documented credits issued BEFORE March 2020 will remain valid for their original 2 year duration,
starting from the date they were issued. Any credit issued from March 2020-August 2021 will be extended
indefinitely and will not expire. Students who receive a credit for cancelling their enrollment in any program
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18or class must use that credit for a program they have gained admissions for in their initial acceptance letter.
Additionally, if a student re-auditions the following year, we may be able to offer acceptance into different
or additional sessions. We will also allow credits to be used for Online Group Master Classes. There are
some items for which credits may NOT be used, which include but may not be limited to: private coaching
fees (both online and live), private video feedback, yearly application fees, video processing fees (Get
Accept’d), housing, merchandise and Broadway show tickets. Credits are strictly non transferable between
students.
THANK YOU!
We are hopeful that in updating our cancellation policy to allow for health related master class and summer
cancellations, you feel you can register for your summer program and training opportunities with
confidence, knowing you have the flexibility to change your plans without penalty.
We will continue to follow state and federal recommended safety protocols. Please continue to stay tuned to
our homepage blog for COVID-19 program related updates. The safety of your children is extremely
important to us and we want you to know we care deeply about their well being (and yours)! Please be well!
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