A l'Aube du Dernier Jour (Guitar Score) by Francis Kleynjans

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By Francis Kleynjans

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It also includes the frequently produced flapper-style musicals, such as Good News! and No, No, Nanette. ” Vertical songs are those that neither further the plot along nor develop character—hence, they are vertical on a time line of the story. These are songs that can be (and often are) lifted from one show and used in another; they are not written for any specific character. In fact, it was not uncommon in the ’20s and ’30s for composers to have a bevy of music that they had written as stand-alone songs, and they would insert whatever song sounded appropriate in the given plot when the need arose.

So whether you are just starting out and are new to this whole repertoire thing, or you are a seasoned pro with an enormous collection of songs and monologues, this section has some tips for success to create the best possible rep book, one you can bring into auditions with confidence. I am going to walk you through a detailed process starting at the very beginning. By the end of this section, you should have a good working knowledge of how to keep your book in order for an entire career in this business.

Despite the students’ best efforts to find edgy, unusual, off-beat material, all of the NY Theatre professionals would inevitably ask the student for either a standard, a Golden Age song, or a piece by Kander and Ebb. You cannot underestimate the value of these genres in your repertoire. Go figure. Modern pop and rock music began to find their way into the world of theatre back in the 1960s, and they continue to pervade Broadway scores even today. I divide them into two separate genres: musical theatre pop and musical theatre rock, and I suggest you look for representative songs from both styles.

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