Information on all Upcoming Auditions


  • The Lion King, Kids & JR. (Late Spring Curtain Call Shows)
  •       WEST SIDE STORY, HS Edition (Advanced Musical Theater)

All solo auditions for musicals must use the below tracks or you may sing a cappella. *No other tracks accepted.

Please select the song choice that best suits your vocal range to prepare for your audition. Expect a cold dance audition at the time of your audition for either musical.  Come dressed in clothes you can easily move in and with dance shoes or an indoor use shoe only.  NO OUTDOOR STREET SHOES ARE ALLOWED IN THE REHEARSAL STUDIO.

Please remember all grades 4 and 5 auditionees do NOT need to prepare for anything.  This will be a fun audition that allows us to get to know you better.  If you would like to practice a song you may do so. Please see below the optional song for grades 4/5 to study. We will do a group sing and work on it together and if there is time, we may be able to hear your solo at this age.

Grades 6 and up should prepare one song from the lists below according to your show and which song you feel best suits your vocal range.  Thank you.


Somethings Coming with Vocals
Without Vocals
A Boy Like That with Vocals
Without Vocals
America with Vocals
Without Vocals
I feel pretty
Gee officer krumpke
Additionally everyone will also have to sing tonight as a duet
Hakuna Matata with Vocals
Without Vocals
Circle of Life with Vocals
Without Vocals
Just Can’t Wait to be King with Vocals
Without Vocals
Shadowland with Vocals
Without Vocals
A View From A Bridge (Advanced Acting)

Monologues to choose from for A View From the Bridge 

Eddie Carbone:

What can I do? I’m a patsy, what can a patsy do? I worked like a dog twenty years so a punk could have her, so that’s what I done. I mean, in the worst times, in the worst, when there wasn’t a ship comin’ in the harbor, I didn’t stand around lookin’ for relief—I hustled. When there was empty piers in Brooklyn, I went to Hoboken, Staten Island, the West Side, Jersey all over—because I made a promise. I took out of my own mouth to give to her. I took out of my wife’s mouth. I walked hungry plenty days in this city! (It begins to break through.) And now I gotta sit in my own house and look at a son-of-a-bitch punk like that—which he came out of nowhere! I give him my house to sleep! I take the blankets off my bed for him, and he takes and puts his dirty filthy hands on her like a goddam thief!


Please. She’s crazy to start work. It’s not a little shop, it’s a big company. Some day she could be a secretary. They picked her out of the whole class. What are you worried about? She could take care of herself. She’ll get out of the subway and be in the office in two minutes. Listen, if nothin’ happened to her in this neighborhood it ain’t gonna happen no place else. Look, you gotta get used to it, she’s no baby no more. Tell her to take it. You hear me? I don’t understand you; she’s seventeen years old, you gonna keep her in the house all her life? Well, I don’t understand when it ends. First it was gonna be when she graduated high school, so she graduated high school. Then it was gonna be when she learned stenographer, so she learned, stenographer. So what’re we gonna wait for now? I mean it Eddie, sometimes I don’t understand you; they picked her out of the whole class, it’s an honor for her.

Beatrice Carbone, A View from the Bridge

CATHERINE: Don’t, don’t laugh at me! I’ve been here all my life. Every day I saw him when he left in the morning and when he came home at night. You think it’s so easy to turn around and say to a man he’s nothing to you no more? You don’t know – nobody knows! I’m not a baby, I know a lot more than people think I know.

Beatrice says to be a woman but – then, why don’t she be a woman! If I was a wife I would make a man happy instead of going at him all the time! I can tell from a block away when he’s blue in the mind and just needs to talk to somebody quiet and nice. I can tell when he’s hungry or wants a beer before he even says anything. I know when his feet hurt him – I mean, I know him, and now I’m supposed to turn around and make a stranger out of him? I don’t know why I have to do that, I mean.

Prologue – Alfieri

You wouldn’t have known it, but something amusing just happened. You see how uneasily they nod to me? That’s because I am a lawyer. In this neighbourhood to meet a lawyer or a priest on the street is unlucky. We’re only thought of in connection with disasters, and they’d rather not get too close.

I often think that behind that suspicious little nod of theirs lie three thousand years of distrust. A lawyer means the law, and in Sicily, from where their fathers came, the law has not been a friendly idea since the Greeks were beaten.

I am inclined to notice the ruins in things, perhaps because I was born in Italy . . . I only came here when I was twenty-five. In those days, Al Capone, the greatest Carthaginian of all, was learning his trade on these pavements, and Frankie Yale himself was cut precisely in half by a machine gun on the corner of Union Street, two blocks away. Oh, there were many here who were justly shot by unjust men.

Justice is very important here.

But this is Red Hook, not Sicily. This is the slum that faces the bay on the seaward side of Brooklyn Bridge. This is the gullet of New York swallowing the tonnage of the world. And now we are quite civilized, quite American. Now we settle for half, and I like it better. I no longer keep a pistol in my filing cabinet.

And my practice is entirely unromantic.

My wife has warned me, so have my friends; they tell me the people in this neighbourhood lack elegance, glamour. After all, who have I dealt with in my life? Longshoremen and their wives, and fathers and grandfathers, compensation cases, evictions, family squabbles – the petty troubles of the poor – and yet . . . every few years there is still a case, and as the parties tell me what the trouble is, the flat air in my office suddenly washes in with the green scent of the sea, the dust in this air is blown away and the thought comes that in some Caesar’s year, in Calabria perhaps or on the cliff at Syracuse, another lawyer, quite differently dressed, heard the same complaint and sat there as powerless as I, and watched it run its bloody course.

This one’s name was Eddie Carbone, a longshoreman working the docks from Brooklyn Bridge to the breakwater where the open sea begins.


The Play that Goes Wrong:

Pick any modern comedic monologue of your choice or choose from here:


Good evening, ladies . . . He steps into it. . . . and gentlemen and welcome to the Cornley Polytechnic Society’s spring production of The Murder at Haaersham Afianor. I would like to personally welcome you to what will be my directorial debut, and my first production as head of the drama society. Act One 7 We are particularly excited to present this play because, for the first time in the society’s history, we have managed to find a play that fits the company’s numbers perfectly. If we’re honest, a lack of numbers has hampered past productions, such as last year’s Chekov play; Two Sisters. Or last Christmas’s The Lion and the Wardrobe, and of course our summer musical, Cal. This will be the first time the society has been able to stage a play of this scale and we are thrilled. ft’s no secret we usually have to contend with a small budget, as we had to in last year’s presentation of Roald Dahl’s classic, James and the Peach. Of course, during the run of that particular show the peach went oll and we were forced to present a hastily devised alternative entitled James ! Where’s our Peach? Finally, we’ve managed to stage a play as it should be, and cast it exceptionally well. I’m sure no one will forget the problems we’ve faced with casting before, such as 2010’s Christmas presentation of Snow White and the Tall, Broad Gentlemen, or indeed our previous year’s pantomime, another Disney classic: USb…andtlrcBeast. But now, on with the main event, which I am confident will be our best show yet! So without any further ado, please put your hands together for Susie H.K. Brideswell’s thrilling whodunit – The Murder at Hutersham Manor Chris


Good evening again, ladies and gentlemen, I hope vou have enjoyed the break, we will be resuming this evening’s performance in just a couple of moments I am assured. I must say I’m delighted to see that so many of you have returned for the second half. Obviously, I would be lying if I said the first act went entirely as rehearsed; there were one or two minor snags, which you may or may not have picked up on. But they are snags that would occur on any opening night and this certainly hasn’t been the worst first act Cornley Polytechnic has seen, by some stretch. Last year our production of Joseph and the Amazing Technicolor Dreamcoat got off to a shaky start when we didn’t realize that our set designer suffered from color blindness. Anyway, before we begin again, one word of . . .

**All shows limited in size to comply with current CDC guidelines at the time of the program and are first come, first serve