The Audition Song

Background
Orfeo wrote this song for an audition he did with Atlanta’s Gilbert and Sullivan troupe, the Southeastern
Savoyards. He joined the Savoyards in 1980 first and foremost as a student of Sullivan’s mastery at setting
English to music. When it came time to audition for H.M.S. Pinafore, he thought it would be a nice
change of pace to practice applying the skills he was picking up.

In addition to extensive descriptions of the singers’ antics, the notes include suggestions so the
accompanist can also join in the fun.

By the way, when he auditioned, he got the part!

Performance Notes
The piece can be staged with the singer before an audition panel who react to the actions (especially item
1), or the audience can be “instructed” on how to audition a performer.

1. When the pianist places the music on the stand, place it upside down. Start playing the correct notes
with a triplet rhythm with rests on the third beat. The singer stops the playing, discovers and corrects
the problem, then the pianist restarts with the correct rhythm.
2. At the end of m.10, present something to discourage any aborting of the audition (a pistol, hatchet,
etc.)
3. When singing the “G,” “E,” “C-sharp,” “A,” glance at the pianist for approval on each note (which
you don’t quite reach in pitch); you receive a “no” shake of the head on each note until you reach the
“A.”
4. Sing “I can sing a bass”, m.21-23 with a deep throat voice; sing the “tenor two, too” section with a
thin voice.
5. Sing m.27 with a grimaced face and grimaced voice.
6. Accentuate dynamic diversity, mm29-32.
7. M34, sing “never” with a hard “R” as well as the “R” in m35.
8. M36-48, be very melodramatic; follow up with the back of the hand to the forhead move during m49-
50.
9. On the downbeat of m51, take the classic singer’s pose: hands neatly folded in front, standing up
straight, wearing a placid smile. Continue mm51-61 in classic recital style.
10. On words quip (m55) and ship (m60), follow an imploded “p” with a grossly (literally) exaggerated
exploded “p.”
11. mm62-75, classic recitative style.
12. During mm75-81 intro, use motions suggesting boarding a ship or a boat.
13. From m81 to end, use regular motions suggesting the role of a sailor for repeated phrases; for
example, each time “my musicianship comes in,” salute.
14. In mm98-99, draw in space (Gilbert and Sullivan style) in 16 th notes a cube in front of you, or other
similar nonsense business.
15. End the first ending with a salute, then bow in such a way as to block the pianist from taking bows.
(Hint: practice where the singer sways side to side; the pianist anticipates the swaying and therefore
appears to be intentionally blocked by the singer.)
16. The pianist, out of frustration, “gets back” at you by starting the fast part over again, even faster (the
second ending).
17. You are freaked out by the sudden reappearance of music, especially at the new tempo. As a
consequence, although your singing is impeccable, your motions get mixed up and confused. (Please
note that the tempo taken should be doable; the illusion of rapid patter speed is achieved more by
concise rhythm and enunciation than by outrageous tempo.)
18. At the final end of the piece, immediately focus on giving the accompanist very full credit; you don’t
wish to have to attempt the piece again at an even faster tempo!

October 11, 1996