MONOLOGUE REQUIREMENTS

Applicants will prepare and perform two contrasting contemporary monologues.

First Monologue: We recommend choosing one of our prescribed pieces (options below). Select the one you feel most connected to and ensure that you read the entire play beforehand, because we can tell if you haven’t. If time is a constraint, and you are unable to prepare one of the recommended monologues, you may choose a contemporary piece that you are familiar with.

Monologue Options:

CLICK HERE for Option 1 | Fool for Love, by Sam Shepard

CLICK HERE for Option 2 | Death of a Salesman, by Arthur Miller

Second Monologue: Choose a contrasting piece from a contemporary play. Look for a monologue where the mood, style, and intention differ from the Cornish selection. This piece should have a strong objective that allows you to perform dynamic actions and try different tactics as you engage directly with another character who is present in the scene. Above all, pick a monologue that you genuinely enjoy performing.

How to Choose a Strong Audition Monologue:

• Avoid “Story” Monologues: Select monologues where the character is actively pursuing a goal rather than simply telling a story or recounting events.
• Strong Character Objective: Choose a piece where your character has a clear and compelling objective. This will allow you to perform actions that directly connect with another character who is present in the scene.
• Dynamic Actions and Tactics: Your monologue should enable you to engage in dynamic actions and explore different tactics to achieve your character’s objective. This showcases your ability to make strong choices and adapt your approach throughout the monologue.
• Transformation: By the end of the monologue, someone—whether it’s your character or the other character in the scene—should be changed in some way. This could be a change in understanding, emotion, or decision, but it’s crucial that there is a shift.

INTERVIEW REQUIREMENTS

Each student will have a short interview with our faculty to discuss their career goals and educational priorities.

IMPORTANT NOTES: FOR THOSE AUDITIONING VIRTUALLY ON ACCEPTD

1. Record your audition in a neutral open space. This can be a classroom or rehearsal space, if you have access to one, but if you do not we understand. A living room or bedroom with furniture moved to provide ample space to perform will work just fine. Try your best to neutralize the space; meaning that walls should be bare (can easily cover with a sheet of fabric), and furniture is moved out of the way so that you have ample space to work.
2. Make sure that the acoustics are good enough for you to sound clear (no rooms with a strong echo)
3. Make sure that there is sufficient light. This means that your face and body are fully visible.
4. DO NOT wear costumes or use character makeup. Dress in an elevated version of your specific style.
5. DO NOT use background sound effects or virtual backgrounds.
6. Contact Andre Williams or Albert Rubio if you have any questions.

OPTIONAL WILD CARD VIDEO: ADDITIONAL SKILLS AND INTERESTS

While not required for consideration, we welcome you to upload a video that showcases any additional skills and interests that are not part of the standard audition requirements.

For example, if you have an interest in creating original works, you might submit a short video excerpt of a play you directed, a sample from a play or text that you’ve written, a self-written spoken word piece, or a devised solo performance. You can also showcase other talents, such as playing an instrument, tap dancing, tumbling, flexibility, or any other skill you’re proud of.

You can upload this optional material in the “Portfolio” section of your Cornish Application for Admission. This is entirely optional, and choosing not to submit additional material will not affect your consideration for the program.

The Cornish Musical Theater Program participates in The Musical Theater Common Audition/Prescreen Requirements. These requirements are a standardized set of criteria agreed upon by participating institutions to streamline the audition and application process for both students and schools. The guidelines help ensure a fair and inclusive admittance process across all participating programs. Below are the specific guidelines we have adopted.

MONOLOGUE REQUIREMENTS

Applicants are required to prepare and perform one monologue from a published play or one written by a professional writer. A professional writer is defined as someone whose plays have been produced, even if they have not been professionally published.

While not mandatory, we recommend selecting one of our prescribed pieces (options below). Choose the piece you feel the strongest connection to, and be sure to read the entire play beforehand, because we can tell when you haven’t.

If you don’t have enough time to prepare one of our recommended monologues, you may choose a piece from a play you are familiar with. The monologue you select should have a strong objective that allows you to engage in actions that connect with another character. We also suggest choosing a contemporary monologue, meaning the play was written after 1950. Most importantly, select a piece that you genuinely enjoy performing.

Monologue Options:

CLICK HERE for Option 1 | Fool for Love, by Sam Shepard

CLICK HERE for Option 2 | Death of a Salesman, by Arthur Miller

How to Choose a Strong Audition Monologue:

• Avoid “Story” Monologues: Select monologues where the character is actively pursuing a goal rather than simply telling a story or recounting events.
• Strong Character Objective: Choose a piece where your character has a clear and compelling objective. This will allow you to perform actions that directly connect with another character who is present in the scene.
• Dynamic Actions and Tactics: Your monologue should enable you to engage in dynamic actions and explore different tactics to achieve your character’s objective. This showcases your ability to make strong choices and adapt your approach throughout the monologue.
• Transformation: By the end of the monologue, someone—whether it’s your character or the other character in the scene—should be changed in some way. This could be a change in understanding, emotion, or decision, but it’s crucial that there is a shift.

SONG REQUIREMENTS

Each applicant will prepare two contrasting songs. We recommend that one song be from a musical in the “Golden Age” style (this can be a contemporary song with a classical feel), and the second song be from a contemporary musical. Each song should be 16 to 32 bars in length (verse and chorus). Choose songs that not only contrast but also showcase your vocal range. The songs should allow you to play an action and focus your energy outward rather than inward.

Applicants for our Musical Theater BFA will be expected to perform their songs with accompaniment. If you are auditioning in person, an accompanist will be provided, so please bring your sheet music in a binder and in the correct key.

For those auditioning live virtually on Acceptd, you may use a live accompanist if you prefer, but recorded accompaniment is also acceptable. If you choose recorded accompaniment, a personal Bluetooth speaker is recommended for the best sound quality.

DANCE REQUIREMENTS

Applicants to our Musical Theater BFA are asked to attend a dance call if auditioning in person, or submit a recorded dance audition in the “Portfolio” section of their Cornish admission application if auditioning live virtually on Acceptd. Please follow the requirements below.

WHAT TO PREPARE:

• Show us your best 60-90 seconds of choreography in the dance style you are most comfortable with. This could be ballet, jazz, contemporary, African, East Indian, Brazilian, or another style.
• Stick to vocabulary and steps you know well and can execute confidently.
• All choreography must be performed to music; no “a cappella” dance media, please.
• Your choreography should be story-driven, allowing you to express a goal or objective.
• Include at least one turn, one jump, and one kick (or other suitable rotation, elevation, and extension that works for your body).

OPTIONAL:

• While not required, we highly recommend showing us your best ballet technique. Include a brief series of plié, tendu, and grande battement, a pirouette en dehors (to both sides), and one or more grand jeté across the floor. You may use music if you like.

FILMING GUIDELINES:

• The dance should be filmed in a full-body shot, ensuring your entire body stays in the frame at all times.
• You may use a dance studio, black box, or rehearsal hall, but we understand that not all students have access to these spaces. If your space is limited, make the best of what you have. Imagine it as a live audition where you are given an improvisational score to work within a confined space. This mindset can help as you film your audition.

INTERVIEW REQUIREMENTS

Each student will have a short interview with our faculty to discuss their career goals and educational priorities.

IMPORTANT NOTES: FOR THOSE AUDITIONING VIRTUALLY ON ACCEPTD

1. Record your audition in a neutral open space. This can be a classroom or rehearsal space, if you have access to one, but if you do not we understand. A living room or bedroom with furniture moved to provide ample space to perform will work just fine. Try your best to neutralize the space; meaning that walls should be bare (can easily cover with a sheet of fabric), and furniture is moved out of the way so that you have ample space to work.
2. Make sure that the acoustics are good enough for you to sound clear (no rooms with a strong echo)
3. Make sure that there is sufficient light. This means that your face and body are fully visible.
4. DO NOT wear costumes or use character makeup. Dress in an elevated version of your specific style.
5. DO NOT use background sound effects or virtual backgrounds.
6. Contact Andre Williams or Albert Rubio if you have any questions.

OPTIONAL WILD CARD VIDEO: ADDITIONAL SKILLS AND INTERESTS

While not required for consideration, we welcome you to upload a video that showcases any additional skills and interests that are not part of the standard audition requirements.

For example, if you have an interest in creating original works, you might submit a short video excerpt of a play you directed, a sample from a play or text that you’ve written, a self-written spoken word piece, or a devised solo performance. You can also showcase other talents, such as playing an instrument, tap dancing, tumbling, flexibility, or any other skill you’re proud of.

You can upload this optional material in the “Portfolio” section of your Cornish Application for Admission. This is entirely optional, and choosing not to submit additional material will not affect your consideration for the program.

If you are unable to join us for a live in-person or virtual audition, You may submit a recorded audition and interview submission.

Recorded auditions MUST be uploaded to your Cornish admission application in the “Portfolio” section, and must follow the additional requirements below.

IMPORTANT NOTES: SHOT SET UP + LIGHTING + SPACE

• Introduction of monologues should be filmed in a full body shot.
• Monologues can be filmed however works best for how you prepared the material, but if you decide to film one monologue as a close up, the best practice would be to have the second monologue filmed in the ¾ shot.
• Record your audition in a neutral open space. This can be a classroom, or rehearsal space if you have access to one, but if you do not we understand. A living room or bedroom with furniture moved to provide ample space to perform will work just fine. Try your best to neutralize the space; meaning that walls should be bare (can easily cover with a sheet of fabric), and furniture is moved out of the way so that you have ample space to work.
• Make sure that the acoustics are good enough for you to sound clear (no rooms with a strong echo).
• Make sure that there is sufficient front facing light.
• DO NOT wear costumes or use character makeup. Dress in an elevated version of your specific style.
• DO NOT use background sound effects or virtual backgrounds.
• If you have any questions contact Albert Rubio or Andre Williams.

MONOLOGUE REQUIREMENTS

Applicants will prepare and perform two contrasting contemporary monologues.

First Monologue: We recommend choosing one of our prescribed pieces (options below). Select the one you feel most connected to and ensure that you read the entire play beforehand, because we can tell if you haven’t. If time is a constraint, and you are unable to prepare one of the recommended monologues, you may choose a contemporary piece that you are familiar with.

Monologue Options:

CLICK HERE for Option 1 | Fool for Love, by Sam Shepard

CLICK HERE for Option 2 | Death of a Salesman, by Arthur Miller

 

Second Monologue: Choose a contrasting piece from a contemporary play. Look for a monologue where the mood, style, and intention differ from the Cornish selection. This piece should have a strong objective that allows you to perform dynamic actions and try different tactics as you engage directly with another character who is present in the scene. Above all, pick a monologue that you genuinely enjoy performing.

How to Choose a Strong Audition Monologue:

• Avoid “Story” Monologues: Select monologues where the character is actively pursuing a goal rather than simply telling a story or recounting events.
• Strong Character Objective: Choose a piece where your character has a clear and compelling objective. This will allow you to perform actions that directly connect with another character who is present in the scene.
• Dynamic Actions and Tactics: Your monologue should enable you to engage in dynamic actions and explore different tactics to achieve your character’s objective. This showcases your ability to make strong choices and adapt your approach throughout the monologue.
• Transformation: By the end of the monologue, someone—whether it’s your character or the other character in the scene—should be changed in some way. This could be a change in understanding, emotion, or decision, but it’s crucial that there is a shift.

Introduce your audition by stating your name, age, and place of residence. Briefly discuss your goals and experience. Introduce and then present the two contrasting monologues, each no longer than two minutes.

REQUIRED INTERVIEW QUESTIONS

You are REQUIRED to answer the questions below on video. This can happen after your introduction or at the end of your audition.

1. Why do you want to study at Cornish? What excites you about our program?
2. Tell us about someone in your life who always acts with integrity, meaning they consistently try to do the right thing, even when it’s difficult. This could be someone you know personally, like a family member or teacher, or it could be someone you admire from afar, like a public or historical figure. Tell us about who this person is, and how they demonstrate integrity through their actions.
3. Imagine that you received a grant to produce a play that you would either commission or write yourself. It could be in the theater of your choice, with the cast of your choice. The only condition is that it has to be about some issue—personal, social, political, environmental—that you care strongly about. What would you want your play to be about and what would you want the audience to take away from the experience of seeing your play?

OPTIONAL WILD CARD VIDEO: ADDITIONAL SKILLS AND INTERESTS

While not required for consideration, we welcome you to upload a video that showcases additional skills and interests that we do not ask for in our audition requirements.

For example, If you are a student interested in creating original works, we encourage you to submit a short video excerpt of a play you directed, a sample from a play/text that you have written, a self-written spoken word sample, a devised solo piece, or something similar. You could also showcase additional skills like: instruments you play, tap, tumbling, flexibility, etc.

Feel free to include this additional material in the “Portfolio” section of the Cornish Application for Admission. This is completely optional, and choosing not to submit additional material will not affect our consideration of you for the program.

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If you are unable to join us for a live in-person or virtual audition, we are glad to accept a recorded audition and interview submission.

Recorded auditions MUST be uploaded to your Cornish admission application in the “Portfolio” section, and must follow the additional requirements below.  

The Cornish Musical Theater Program is a participating institution of The Musical Theater Common Audition/Prescreen Requirements. ​The requirements are an agreed upon set of criteria used for the auditions and videos that are required as part of the application process to musical theater programs. Participating institutions settled on given guidelines to initiate a streamlined process for both applicants and schools as well as to promote inclusivity in the admittance process. The guidelines we have chosen are listed below.

IMPORTANT NOTES: SHOT SET UP + LIGHTING + SPACE

• Introduction of monologues should be filmed in a full body shot.
• Monologues can be filmed however works best for how you prepared the material, but if you decide to film one monologue as a close up, the best practice would be to have the second monologue filmed in the ¾ to full body shot range.
• Songs should be filmed in a ¾ shot, which means the top of the head to the knees should be visible in the frame.
• Record your audition in a neutral open space. This can be a classroom, or rehearsal space if you have access to one, but if you do not we understand. A living room or bedroom with furniture moved to provide ample space to perform will work just fine. Try your best to neutralize the space; meaning that walls should be bare (can easily cover with a sheet of fabric), and furniture is moved out of the way so that you have ample space to work.
• Make sure that the acoustics are good enough for you to sound clear (no rooms with a strong echo)
• Make sure that there is sufficient light
• DO NOT wear costumes or use character makeup. Dress in an elevated version of your specific style.
• DO NOT use background sound effects or virtual backgrounds.
• If you have any questions contact Albert Rubio.

MONOLOGUE REQUIREMENTS

Applicants are required to prepare and perform one monologue from a published play or one written by a professional writer. A professional writer is defined as someone whose plays have been produced, even if they have not been professionally published.

While not mandatory, we recommend selecting one of our prescribed pieces (options below). Choose the piece you feel the strongest connection to, and be sure to read the entire play beforehand, because we can tell when you haven’t.

If you don’t have enough time to prepare one of our recommended monologues, you may choose a piece from a play you are familiar with. The monologue you select should have a strong objective that allows you to engage in actions that connect with another character. We also suggest choosing a contemporary monologue, meaning the play was written after 1950. Most importantly, select a piece that you genuinely enjoy performing.

Monologue Options:

CLICK HERE for Option 1 | Fool for Love, by Sam Shepard

CLICK HERE for Option 2 | Death of a Salesman, by Arthur Miller

How to Choose a Strong Audition Monologue:

• Avoid “Story” Monologues: Select monologues where the character is actively pursuing a goal rather than simply telling a story or recounting events.
• Strong Character Objective: Choose a piece where your character has a clear and compelling objective. This will allow you to perform actions that directly connect with another character who is present in the scene.
• Dynamic Actions and Tactics: Your monologue should enable you to engage in dynamic actions and explore different tactics to achieve your character’s objective. This showcases your ability to make strong choices and adapt your approach throughout the monologue.
• Transformation: By the end of the monologue, someone—whether it’s your character or the other character in the scene—should be changed in some way. This could be a change in understanding, emotion, or decision, but it’s crucial that there is a shift.

SONG REQUIREMENTS

Each applicant will prepare two contrasting songs. We recommend that one song be from a Musical in the “Golden Age style” (can be contemporary, should just have a classical feel), and we recommend that your second song be from a Contemporary Musical. Each song should be 16 to 32 bars in length (verse and chorus). Choose contrasting songs that showcase your vocal range. The songs should also allow you to play an action, and bring your focus out rather than inward.

Applicants applying to our Musical Theater BFA will be expected to perform their song with accompaniment. If you’re auditioning in-person, you’ll use the accompanist we provide. Therefore, you should come prepared with your music in a binder, and in the correct key.

If you’re auditioning live virtually on Acceptd, you may use a live accompanist if you wish, but you may also use recorded accompaniment. If you choose to use recorded accompaniment, a personal Bluetooth speaker is best.

DANCE REQUIREMENTS

Applicants applying to our Musical Theater BFA are asked to attend a dance-call if auditioning in-person, or submit a recorded dance audition in the “Portfolio” section of their Cornish admission application if auditioning live virtually on Acceptd following the requirements below.

• Show us your best 60-90 seconds of choreography from the discipline you are most comfortable with. Ballet, jazz, contemporary, African, East Indian, Brazilian, etc. Please stick to vocabulary and steps you are familiar with and can execute well. All choreography must be performed to music; no “a-cappella” dance media, please. The execution of the choreography should be story-driven, and allow you to express a goal. Please also include at least one turn, one jump and one kick (or other suitable rotation, elevation, and extension that works for your body).
• OPTIONAL: While not required, we highly recommend that you show us your best version of ballet. Please include a brief series of plié, tendu, and grande battement, a pirouette en déhors (to both sides), and one or more grand jeté across the floor. You may use music if you like.
• Dance media should be filmed in a “full-body” shot taking care to keep the student’s entire body in the frame at all times. If you have questions about how to set up this shot, contact Albert Rubio to set up a Zoom session to walk you through best practices.
• You may use a dance studio, black box, or rehearsal hall; but we understand that not every student has access to these types of spaces. If you have limited space, make the best of your available space. Show us your best in the space you have available. Imagine that it is a live audition and the choreographer has given you an improvisational score where you must work in a confined space. This can help with your mindset going into the filming process for this portion of the audition. You can also reach out to Albert Rubio to schedule a Zoom session where he will help you with using the space you have available.

REQUIRED INTERVIEW QUESTIONS

You are REQUIRED to answer the questions below on video. This can happen after your introduction or at the end of your audition.

1. Why do you want to study at Cornish? What excites you about our program?
2. Tell us about someone in your life who always acts with integrity, meaning they consistently try to do the right thing, even when it’s difficult. This could be someone you know personally, like a family member or teacher, or it could be someone you admire from afar, like a public or historical figure. Tell us about who this person is, and how they demonstrate integrity through their actions.
3. Imagine that you received a grant to produce a play that you would either commission or write yourself. It could be in the theater of your choice, with the cast of your choice. The only condition is that it has to be about some issue—personal, social, political, environmental—that you care strongly about. What would you want your play to be about and what would you want the audience to take away from the experience of seeing your play?

OPTIONAL WILD CARD VIDEO: ADDITIONAL SKILLS AND INTERESTS

While not required for consideration, we welcome you to upload a video that showcases additional skills and interests that we do not ask for in our audition requirements.

For example, If you are a student interested in creating original works, we encourage you to submit a short video excerpt of a play you directed, a sample from a play/text that you have written, a self-written spoken word sample, a devised solo piece, or something similar. You could also showcase additional skills like: instruments you play, tap, tumbling, flexibility, etc.

Feel free to include this additional material in the “Portfolio” section of the Cornish Application for Admission. This is completely optional, and choosing not to submit additional material will not affect our consideration of you for the program.