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 - Broadway Artists Alliance
2021 SUMMER
COLLEGE AUDITION WORKSHOP

  Student & Parent Handbook
        Online Edition

                              1
TABLE 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

                                                     2
The 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.

                                                                                                                          3
DURING 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!

                                                                                                                         4
IMPORTANT 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!
.

                                                                                                                   5
College 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.

                                                                                                          6
Important 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!

                                                                                                           7
WHAT 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!

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Acting 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.

                                                                                                        9
Song 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.

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Monologue 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.

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GREAT 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

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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.

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Your 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!

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Michelle 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.

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Steven 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.

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BAA’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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BAA 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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or 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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