Female musical theatre singers produce some of the most exciting and expressive singing an audience can experience. They also face a unique and specific set of issues when approaching their craft, from negotiating the registers of their voice to enable them to belt, to vocal health challenges such as premenstrual voice syndrome. This is the only book that offers a full and detailed guide to tackling those issues and to singing with full expression and technical excellence. Musical Theatre for the Female Voice covers the origin of singing in musicals, from the bel canto style of 300 years ago through to the latest developments in high belting, in shows such as Wicked and Waitress. It offers the reader exercises and methods that have been used to train hundreds of singers at some of the UK’s leading musical theatre training institutions and are underpinned by the latest academic research in journals on singing, psychology, and health. Every element of a singer's toolkit is covered from a female perspective, from breath and posture to character work and vocal health. This is an essential guidebook for female singers in musical theatre productions, either training at university or conservatory level or forging a career as professional triple-threat performers.

Pianists on cd: Brian Dean and Christopher Ruck.

(Vocal Collection). Character roles are a staple of theatre, film, television, and musical theatre. Rather than romantic leads, they are featured comic roles, villains, or off-beat secondary parts. These are their songs from stage and screen musicals. THE ADDAMS FAMILY: Waiting * ANNIE: Little Girls * AVENUE Q: Special * COMPANY: Getting Married Today * COWGIRLS: Heads or Tails * DAMN YANKEES: Whatever Lola Wants (Lola Gets) * GOOD NEWS: I Want to Be Bad * GRAND HOTEL: I Want to Go to Hollywood * GREASE: Look at Me, I'm Sandra Dee * GUYS AND DOLLS: Adelaide's Lament * GUYS AND DOLLS: Take Back Your Mink * HAIRSPRAY: Miss Baltimore Crabs * I CAN GET IT FOR YOUR WHOLESALE: Miss Marmelstein * LEGALLY BLONDE: Ireland * THE LITTLE MERMAID: Poor Unfortunate Souls * LITTLE SHOP OF HORRORS: Somewhere That's Green * MAME: Gooch's Song * NEWSIES: That's Rich * NUNSENSE: I Just Want to Be a Star * OKLAHOMA!: I Cain't Say No * PHANTOM: This Place Is Mine * THE PRODUCERS: When You Got it, Flaunt It * SHE LOVES ME: A Trip to the Library * SISTER ACT: The Life I Never Led * SONGS FOR A NEW WORLD: Surabaya-Santa * SWEENEY TODD: Searching * THOROUGHLY MODERN MILLIE: They Don't Know * WONDERFUL TOWN: One Hundred Easy Ways to Lose a Man * Alto's Lament

(Vocal Collection). Songs particularly suitable for and appealing to young voices selected from 5 volumes of The Singer's Musical Theatre Anthology, plus additional songs for teens from stage, film and television musicals.

Audiences for musical theater are predominantly women, yet shows are frequently created and produced by men. Onstage, female characters are depicted as victims or sex objects and lack the complexity of their male counterparts. Offstage, women are under-represented among writers, directors, composers and choreographers. While other areas of the arts rally behind gender equality, musical theater demonstrates a disregard for women and an authentic female voice. If musical theater reflects prevailing societal attitudes, what does the modern musical tell us about the place of women in contemporary America, the UK and Australia? Are women deliberately kept out of musical theater by men jealously guarding their territory or is the absence of women a result of the modernization of the genre? Based on interviews with successful female performers, writers, directors, choreographers and executives, this book offers a unique female viewpoint on musical theater today.

In some ways, the successor of vaudeville and an extension of the opera and operetta, the stage musical has evolved into a worldwide juggernaut. Musicals are staged not only across the globe but are offered in a variety of settings, from the high school stage and major theater to the big screen. The stage musical has become a staple for the professional singer and the object of close study by students of singing. In So You Want to Sing Music Theater: A Guide for Professionals, singer and scholar Karen S. Hall fills an important gap in the instructional literature for those who sing or teach singing to those seeking their fortunes in music theatrical productions. Developed in coordination with the National Association for Teachers of Singing, this work draws on current research from the world of voice scholarship to advance the careers of singers seeking to make a foray into or already deeply embedded in the world of music theater. So You Want to Sing Music Theater covers a vast array of topics. It includes a brief history of music theater; the basics of vocal science and anatomy; information on vocal and bodily health and maintenance, from diet to exercise to healing techniques; advice on teaching music theater to others, with focuses on breath, posture, registers, range, and tone quality; repertoire recommendations for voice and singing types, from female and male belting to classical and contemporary styles; a survey of music theater styles, such as folk, country, rock, gospel, rhythm and blues, jazz, and pop; insights on working with other music theater stakeholder, from singing teacher, vocal coach and accompanist, to acting teacher, director, dance instructor, composer, and music director; and finally sage advice on working with and without amplification or microphones, auditioning tips, and casting challenges. So You Want to Sing Music Theater includes guest-authored chapters by singing professionals Scott McCoy and Wendy LeBorgne. This work is not only the ideal guide to singing professionals, but the perfect reference works for voice teachers and their students, music directors, acting teachers, dance instructors and choreographers, and composers, and conductors. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Music Theater features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Accompaniment arranged for piano; in part with chord symbols.