The Casting Conversation Nobody Wants to Have

In the casting room everyone suddenly believes that great singing happens by magic. That physics doesn't apply. That anatomy is flexible. That two months and good intentions will produce a voice that doesn't exist yet.

It won't.

At some point in your career as a Music Director, you'll be behind the table at a callback where everyone in the room loses their mind over an actor. "Fascinating." "Unique." "So interesting." "Yes, I agree," you say. Well, except for one tiny, minor issue.

Mr. Interesting barely has a High G. And only on an "Ah" vowel. And when there are no "allergies" that are of course the root cause for the pitch to drift a little low. He's up for a role that requires a true full-voice, in-the-ring Tenor High Bb. The composer is writing their first musical. Usually does opera. "I am not changing this key for a f*cking singer. The strings will sound way off." "Of course." You nod.

So the room gets very quiet when singing comes up. Then very friendly. "He may not be the best singer — but he's just so fascinating. I mean... you'll work with him, right?"

"You'll work with him" is code for: you will magically change the laws of physics and anatomy and create a voice that does not exist on a person who doesn't study voice or want to. Oh no problem. That weak G will for sure be a solid Bb in 2 months. Sure it will. YES.

Here is a well-known secret among people who have sat through thousands of hours of auditions at the highest level. There aren't that many people out there who can really sing AND really act AND are the right look for your specific project. Most people have a significant area of weakness. Most. As in 97.5%.

A voice that really sings? As in, when I listen, I don't hear placement. I'm thinking about every poor life choice I've ever made and that lost love from years ago I forgot about and where is she now anyway and weird that we'll never speak again but good thing because she was......

That's a real voice. Rare. A real actor in a musical? Three dimensional. Consistent but unpredictable. Like a jazz musician. Also rare. Especially together.

So you need strategies. If we are going to charge $175 and up for a ticket?

First: make it obvious when someone can't do the job. Pick the hardest section of each role for the callback. Does stamina matter? Make them sing longer. You'll know within ten seconds if you know voices. Second: throw them a curveball. Ask for something unexpected. Curiosity or resistance? That's what rehearsals will be like. When they show you who they are — believe it.

Watch the ones who nail the sides immediately and never get any better. They will not handle curveballs. Watch the ones who are awkward and nervous but are the kind of artist you want to be in a room with. They will thrive with a curveball.

When you know someone is genuinely wrong for the role and the room isn't listening — reframe. You are not fighting. You are protecting the actor from failing publicly. "It might get 5% better than what you just heard IF they work at it. How does everyone feel about that at a press night?" You do music. Not magic.

Prepare to be unpopular for doing your job again. You will also sign off on hiring people whose singing you despise. Because that's the job. You advocate, you warn, you protect the show as best you can. And then you embrace comedy and make it work. That's what MDs do.

Know your strategies. Know your voices. And bring your sense of humor because you're going to need it.