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Auditions
Audition Requirements by Course Category
Select your course category below to view the specific audition requirements for your course.
Acting Courses
BA (Hons) Acting | CertHE Acting
Audition Fee: £45 (non-refundable)
Our audition process is your opportunity to show us who you are as an actor and what you could bring to training at Italia Conti.
Below, you will find an overview of everything you need to prepare.
Full audition briefing packs are sent out by our admissions team upon application and will include finer details including guidance on how to record a self-tape and how to submit your first round audition.
First Round (Self-Tape)
After completing the application process, you will be invited to prepare, record and submit an audition self-tape.
Applicants should compile the required components, editing them together into one continuous video. Required components include:
- Identification – your name and the programme(s) you are applying for
- Speech 1 – Shakespeare Speech from the set list found below (Preparation Guidance) and in the audition pack
- Speech 2 – Contemporary Speech from a modern play (1970-present day) of your choice, that is no longer then 1 minute 30 seconds long.
- About You – a brief chat to camera as discussed in the audition pack and summarised below:
Introduce yourself to camera with your name and age, then discuss a topic of your choice, which may relate to acting, a personal interest, or a relevant experience.
Each of these elements will be explained in more detail within the audition pack that is sent to auditionees with the audition submission date.
The self-tape should be compiled into one video and then submitted – help and advice on this can be found in the ‘How to Submit Your Self-Tape’ section of the audition pack.
NB those wanting to be considered for the BA Acting (Musical Theatre) should follow the first round audition for the Acting (MT) course as this includes all of the above and an additional singing task.
In a minority of instances, the panel may require a further tape or live-online audition responding to direction or feedback to consider ahead of a recall audition.
You’ll usually receive your results from the first round within 4 weeks of your submission date.
Possible outcomes include:
- In-person recall for the BA Acting / BA Acting (Musical Theatre)
- In person recall for the CertHE Acting / CertHE Acting (Musical Theatre)
- Live-online recall for the CertHE Acting / CertHE Acting (Musical Theatre)
- Unsuccessful outcome
Recall (In-Person, Woking Campus)
Those who are successful in the first round will be invited to a recall audition on site at our Woking campus. The recall day will offer the opportunity to experience a day at Italia Conti. This stage enables us to explore your work in greater depth, assess your responsiveness to direction, and understand how you engage within a training environment and how you work within an ensemble of actors.
The recall day may include:
- Prepared duologue / partner work with a current Italia Conti student. The dualogue is provided in the recall pack.
- Your first round speeches / redirection of speeches
- Workshops (improvisation, movement, voice and singing)
- An interview
You do not need to prepare new monologues (unless you have specifically been asked to do so), you can use the same monologues as you prepared for your self-tape. However, you may prepare new material if you would like to.
In a minority of instances, the panel may require a further tape or live-online audition after the recall audition.
You’ll usually receive your results from the recall audition within 4 weeks of your recall date.
Possible outcomes include:
- Offer for the BA Acting / BA Acting (Musical Theatre)
- Waiting List for the BA Acting / BA Acting (Musical Theatre)
- Offer for the CertHE Acting / CertHE Acting (Musical Theatre)
- Waiting List for the CertHE Acting / CertHE Acting (Musical Theatre)
- A further online or in-person recall or self-tape request for another course, or to get to know you more
- Unsuccessful outcome
Preparation Guidance
Speech Guidance
- Ensure speech is from published plays. They should not be extracts from poems, novels, films or television scripts.
- Keep each piece to 90 seconds in length.
- Please choose characters close to your own age.
- Please perform your speeches in your native accent.
Shakespeare Speech List
Measure for Measure – Act 2, Scene 4 – Isabella
“To whom should I complain?… And fit his mind to death, for his soul’s rest.”
Macbeth – Act 3 Scene 1 – Macbeth
“To be thus is nothing, but to be safely thus……Who’s there!”
Romeo & Juliet – Act 2 Scene 5 – Juliet
“The clock struck nine when I did send the nurse………”
Romeo and Juliet – Act 3 Scene 3 – Romeo
”Tis torture and not mercy …”
Othello – Act 4 Scene 3 – Emilia
“But I do think it is their husbands’ faults…..”
Othello – Act 1 Scene 3 – Iago
“I hate the Moor……”
Midsummer Night’s Dream – Act 3 Scene 2 – Helena
”Lo she is one of this confederacy ..
Merchant of Venice – Act 3 Scene 2 – Portia
“You see me, Lord Bassanio, where I stand…….”
King John – Act 4 Scene 1 – Arthur
“Have you the heart? When your head did but ache………”
Hamlet – Act 3 sc 4 – Hamlet
”Look here upon this picture …. would step from this to this?’
Julius Caesar – Act 2 Scene 1 – Portia
“Is Brutus sick? and is it physical…….. who did hide their faces Even from darkness “
Henry VI – Act 1 Scene 4 – Queen Margaret
“Brave warriors…….. may sing and dance”
King Lear – Act 1 Scene 2 – Edmund
“Thou, nature art my goddess………”
King Lear – Act 1 Scene 3 – Goneril
“By day and night he wrongs me………Prepare for dinner”
King Lear – Act 2 Scene 3 – Edgar
“I heard myself proclaim’d………”
Much Ado About Nothing – Act 2 Scene 3 – Benedick [Prose]
“This can be no trick: the conference was sadly borne… I do spy some marks of love in her”
Possible outcomes include:
- Auditionees should wear comfortable fitted rehearsal wear that best represents you and/or helps with your characterisation.
- Understand the context of the plays your pieces are drawn from.
- You may address the speech to the panel or work imaginitevely within the space. You may use a chair.
- Focus on authenticity and connection, and try not to second-guess what the panel are looking for.
FAQs
After completing the application process, you will be invited to prepare, record and submit an audition self-tape.
Applicants should compile the required components, editing them together into one continuous video. Required components include:
Do I need professional equipment to film my self-tape?
No. We are not assessing production quality. A clear, well-lit recording made on a phone with good sound is sufficient.
What makes a strong audition?
We are looking for authenticity, clarity of thought, and connection to the material. Strong auditions demonstrate:
- Clear understanding of the text
- Confident, truthful performance
- Appropriate casting choices
- A sense of you as an individual performer
Can I speak directly to the panel/camera?
Yes. You may speak directly to the panel or camera. Clear communication is more important than creating an artificial setup.
What if I feel nervous?
This is completely normal. We are not assessing how “polished” you are, but how you engage with the work. Take your time, stay present, and focus on the material.
What happens in workshops at recall?
Workshops are practical and exploratory. We are observing how you engage, collaborate, and respond rather than looking for a finished performance. Have fun and imagine you are just taking a class.
Will I be asked to take direction?
Yes. Direction is a key part of the recall process. We are interested in how you embody feedback, not whether your first attempt is “perfect”.
What if I don’t understand a direction or instruction?
You are encouraged to ask for clarification. This is seen as a positive part of the process.
Can I prepare new material for recall?
Yes, but it is not required. The panel may not ask to see it.
We are interested in how you think, not how you present.
We are looking for actors who make clear, considered choices and demonstrate a genuine connection to text, character, and circumstance. Your ability to listen, respond, and adapt your work in the moment is far more valuable than delivering a fixed or overly polished performance. Approach the audition as a space to explore and communicate, showing us how you work rather than trying to “get it right”.
Acting (Musical Theatre) Courses
BA (Hons) Acting (Musical Theatre) | CertHE Acting (Musical Theatre)
Audition Fee: £45 (non-refundable)
Our audition process is your opportunity to show us who you are as an actor and what you could bring to training at Italia Conti.
Below, you will find an overview of everything you need to prepare.
Full audition briefing packs are sent out by our admissions team upon application and will include finer details including guidance on how to record a self-tape and how to submit your first round audition.
First Round (Self-Tape)
After completing the application process, you will be invited to prepare, record and submit an audition self-tape.
Applicants should compile the required components, editing them together into one continuous video. Required components include:
- Identification – your name and the programme(s) you are applying for
- Speech 1 – Shakespeare Speech from the set list found below (Preparation Guidance) and in the audition pack
- Speech 2 – Contemporary Speech from a modern play (1970-present day) of your choice, that is no longer then 1 minute 30 seconds long.
- Song 1 – Golden Age Lyrical Song (a song written pre-1965 that shows a lyrical voice quality) of your choice, that is no longer then 1 minute 30 seconds long.
- Song 2 – Contrasting Musical Theatre song (usually post-1965 and should show a different voice quality or musical style) of your choice, that is no longer then 1 minute 30 seconds long.
- About You – a brief chat to camera as discussed in the audition pack and summarised below:
Introduce yourself to camera with your name and age, then discuss a topic of your choice, which may relate to acting, a personal interest, or a relevant experience.
Each of these elements will be explained in more detail within the audition pack that is sent to auditionees with the audition submission date.
Some preparation guidance is offered below.
The self-tape should be compiled into one video and then submitted – help and advice on this can be found in the ‘How to Submit Your Self-Tape’ section of the audition pack.
NB those wanting to also be considered for the Musical Theatre courses will be asked to submit the dance elements from the first round musical theatre audition brief.
In a minority of instances, the panel may require a further tape or live-online audition responding to direction or feedback to consider ahead of a recall audition.
You’ll usually receive your results from the first round within 4 weeks of your submission date.
Possible outcomes include:
- In-person recall for the BA Acting (Musical Theatre) / BA Acting
- In-person recall for the CertHE Acting (Musical Theatre) / CertHE Acting
- Live-online recall for the CertHE Acting (Musical Theatre) / CertHE Acting
- Unsuccessful outcome
Recall (In-Person, Woking Campus)
Those who are successful in the first round will be invited to a recall audition on site at our Woking campus. The recall day will offer the opportunity to experience a day at Italia Conti. This stage enables us to explore your work in greater depth, assess your responsiveness to direction, and understand how you engage within a training environment and how you work within an ensemble of actors.
The recall day will include:
- Your first round speeches / redirection of speeches, and an interview
- Workshops (improvisation, movement, voice and dance for actors)
- Your first round songs
- Scales; some candidates may be asked to perform scales. These 5-note major scales will be performed on your chosen vowel sound.
You do not need to prepare new songs or monologues (unless you have specifically been asked to do so), you can use the same material as you prepared for your self-tape. However, you may prepare new material if you would like to.
In a minority of instances, the panel may require a further tape or live-online audition after the recall audition.
You’ll usually receive your results from the recall audition within 4 weeks of your recall date.
Possible outcomes include:
- Offer for the BA Acting (Musical Theatre) / BA Acting
- Waiting List for the BA Acting (Musical Theatre) / BA Acting
- Offer for the CertHE Acting (Musical Theatre) / CertHE Acting
- Waiting List for the CertHE Acting (Musical Theatre) / CertHE Acting
- A further online or in-person recall or self-tape request for another course, or to get to know you more
- Unsuccessful outcome
Preparation Guidance
Speech Guidance
- Ensure speech is from published plays. They should not be extracts from poems, novels, films or television scripts.
- Keep each piece to 90 seconds in length
- Please choose characters close to your own age.
- Please perform your speeches in your native accent.
Shakespeare Speech List
Measure for Measure – Act 2, Scene 4 – Isabella
“To whom should I complain?… And fit his mind to death, for his soul’s rest.”
Macbeth – Act 3 Scene 1 – Macbeth
“To be thus is nothing, but to be safely thus……Who’s there!”
Romeo & Juliet – Act 2 Scene 5 – Juliet
“The clock struck nine when I did send the nurse………”
Romeo and Juliet – Act 3 Scene 3 – Romeo
”Tis torture and not mercy …”
Othello – Act 4 Scene 3 – Emilia
“But I do think it is their husbands’ faults…..”
Othello – Act 1 Scene 3 – Iago
“I hate the Moor……”
Midsummer Night’s Dream – Act 3 Scene 2 – Helena
”Lo she is one of this confederacy ..
Merchant of Venice – Act 3 Scene 2 – Portia
“You see me, Lord Bassanio, where I stand…….”
King John – Act 4 Scene 1 – Arthur
“Have you the heart? When your head did but ache………”
Hamlet – Act 3 sc 4 – Hamlet
”Look here upon this picture …. would step from this to this?’
Julius Caesar – Act 2 Scene 1 – Portia
“Is Brutus sick? and is it physical…….. who did hide their faces Even from darkness “
Henry VI – Act 1 Scene 4 – Queen Margaret
“Brave warriors…….. may sing and dance”
King Lear – Act 1 Scene 2 – Edmund
“Thou, nature art my goddess………”
King Lear – Act 1 Scene 3 – Goneril
“By day and night he wrongs me………Prepare for dinner”
King Lear – Act 2 Scene 3 – Edgar
“I heard myself proclaim’d………”
Much Ado About Nothing – Act 2 Scene 3 – Benedick [Prose]
“This can be no trick: the conference was sadly borne… I do spy some marks of love in her”
Possible outcomes include:
- Auditionees should wear comfortable fitted rehearsal wear that best represents you and/or helps with your characterisation.
- Understand the context of the plays your pieces are drawn from.
- You may address the speech to the panel or work imaginitevely within the space. You may use a chair.
- Focus on authenticity and connection, and try not to second-guess what the panel are looking for
- Auditionees should prepare two musical theatre songs, one and a half minutes in length, that they enjoy singing and can sing well.
- Prioritise execution over difficulty – a well-performed, controlled singing performance is more effective than tackling overly ambitious material.
- Ensure that the song shows vocal and performance ability, suitable for your casting and voice type.
- May be a song or speech performed by a character of any gender.
- Avoid songs requiring extreme character voices.
- Songs should demonstrate skill in acting as well as singing.
Song Repertoire Guidance
One Golden Age Lyrical song (c. pre-1965)
Suggested composers/lyricists can include: Rodgers and Hammerstein, Rodgers and Hart, Cole Porter, Learner and Loewe, Leonard Bernstein, Kurt Weill, Jerome Kern, Frank Loesser.
Suggested composers/lyricists can include; Stephen Schwartz, Stephen Sondheim, Andrew Lloyd Webber, Alan Menken, Boubil and Schonberg, Jason Robert Brown, Lin Manuel-Miranda, Kander and Ebb, Jule Styne, Cy Coleman, Marvin Hamlisch, Tom Kitt, Laurence O’Keefe, Jerry Bock.
FAQs
Do I need to be equally strong in acting, singing and dance?
No. We are looking for potential and trainability in both acting and singing. A clear strength in one area, combined with openness and responsiveness in others, is valuable.
What are you looking for in the dance element?
We are assessing coordination, musicality, physical awareness, and performance quality. Precision and clarity are more important than complexity.
What if I have limited dance experience?
That is absolutely fine. We are interested in how you approach movement, take direction, and engage with the work rather than prior training alone.
What makes a strong audition?
We are looking for performers who can integrate acting and singing with clarity and intention. Strong auditions typically show:
- Clear storytelling through song
- Vocal control and suitability of repertoire
- Authentic connection to text and character
- Confidence and individuality
How should I approach my song choices?
Choose material that suits your voice and that you sing comfortably, and that allows you to act through the song. Avoid repertoire that relies heavily on vocal tricks or character voices.
Do I need to bring sheet music for recall auditions?
Yes. You should bring clearly marked sheet music for the accompanist.
What happens in recall workshops?
You will take part in movement, voice, improvisation, and dance-based workshops. These are collaborative sessions where we assess how you learn, adapt, and work with others.
Will I be asked to take direction in singing or acting?
Yes. Direction is a key part of the process across both acting and singing panels. We are interested in how you respond and develop your work in the moment.
What should I expect from the interview?
A short, informal conversation about your interests, motivations, and ambitions. This is an opportunity for us to understand you as an individual and for you to ask questions
What should I wear for recall?
Comfortable, fitted clothing suitable for movement work, along with appropriate footwear (e.g. trainers or jazz shoes). No jewellery should be worn.
What if I don’t understand a direction or feel unsure in a workshop?
You are encouraged to ask for clarification. We are looking for openness, curiosity, and a willingness to engage.
Acting sits at the centre of everything you do.
We are looking for performers who lead with storytelling, using voice and movement in service of character and intention. Strong auditions demonstrate that you can act through song, make clear choices, and remain connected across disciplines rather than switching between them. Show us how you communicate, not just what you can do.
Dance Courses
BA (Hons) Dance | Level 6 Diploma in Professional Dance | FdA Dance | CertHE Dance
Audition Fee: £45 (non-refundable)
Our audition process is your opportunity to show us who you are as a dancer and what you could bring to training at Italia Conti.
Below, you will find an overview of everything you need to prepare.
Full audition briefing packs are sent out by our admissions team upon application and will include finer details including guidance on how to record a self-tape and how to submit your first round audition.
First Round (Self-Tape)
After completing the application process, you will be invited to prepare, record and submit an audition self-tape.
Applicants should compile the required components, editing them together into one continuous video. Required components include:
- Identification – your name and the programme(s) you are applying for
- Dance Solo – A solo dance piece in your preferred style, no longer than 1 minute, showcasing strengths, performance quality, musicality and special skills. (Please avoid tap unless this is your most advanced dance discipline)
- Ballet Exercises – from the provided video (Plié and tendu exercise; Battement Fondu and Rond de Jambe en l'air exercise; Adage; Pirouette combination; Petit Changement)
- Jazz Exercises – from the provided video (Kicks, Pirouette and Jump combination)
Possible outcomes include:
Each of these elements will be explained in more detail within the audition pack that is sent to auditionees with the audition submission date.
Some preparation guidance is offered below.
The self-tape should be compiled into one video and then submitted – help and advice on this can be found in the ‘How to Submit Your Self-Tape’ section of the audition pack.
NB those wanting to also be considered for the Musical Theatre courses will be asked to submit the Singing and Acting elements from the first round musical theatre audition brief.
In a minority of instances, the panel may require a further tape or live-online audition responding to direction or feedback to consider ahead of a recall audition.
You’ll usually receive your results from the first round within 4 weeks of your submission date.
Possible outcomes include:
- In-person recall for the Musical Theatre and Dance Courses
- Live-online recall for the Musical Theatre and Dance Courses (international students and students who require reasonable adjustments only)
- Unsuccessful outcome
Recall (In-Person, Woking Campus)
Those who are successful in the first round will be invited to a recall audition on site at our Woking campus. The recall day will offer the opportunity to experience a day at Italia Conti. This stage enables us to explore your dance work in greater depth, assess your responsiveness to feedback and corrections, and understand how you engage within a training environment.
The recall day will include:
- Your first round dance solo and an interview
- Ballet class
- Contemporary class
- Jazz tech and performance class
You do not need to prepare a new dance solo (unless you have specifically been asked to do so), you can use the same solo as you prepared for your self-tape. However, you may prepare new material if you would like to.
During the interview you will have the opportunity to discuss your previous experience and any questions you may have about the course.
In a minority of instances, the panel may require a further tape or live-online audition after the recall audition.
You’ll usually receive your results from the recall audition within 4 weeks of your recall date.
Possible outcomes include:
- Offer for the BA Dance / Diploma Dance / FDA Dance
- Waiting List for the BA Dance / Diploma Dance / FDA Dance
- Offer for the CertHE Dance
- Waiting List for the CertHE Dance
- A further online or in-person recall or self-tape request for another course (e.g. Musical Theatre), or to get to know you more
- Unsuccessful outcome
Preparation Guidance
Self-Tape Audition: Key Preparation
Submit a clear, unedited self-tape that demonstrates your technical foundation and performance quality across ballet, jazz, and your solo.
- Follow the set ballet and jazz exercises accurately – precision, musicality, and clarity of technique are key.
- Choose your solo strategically – select a style that plays to your strengths and showcases your individuality, performance quality, and any standout skills.
- Prioritise execution over difficulty – a well-performed, controlled piece is more effective than overly ambitious material.
- Use the space safely and effectively – ensure you have enough room to move fully without risk.
- Wear fitted clothing so the panel can clearly see alignment, placement, and movement detail.
Recall Audition: Key Preparation
RECALL BALLET CLASS
The Ballet audition class will commence with Barre work – which may include Plies, Battement Tendu, Battement Glisse, Ronds de Jambe, Adage and Grand Battement. The Centre work will consist of an Adage and Pirouettes, then the Allegro section, which will include either a Petit Allegro or Grand Allegro (small or big jumps).
Required dress:
Plain black leotard, skin coloured or black tights and ballet shoes with or without socks. If you chose to wear socks, they should match the colour of your shoes. Your hair should be neat and off the face. Pointe shoes are not required. No jewellery or watches to be worn.
RECALL JAZZ CLASS
The Jazz class will consist of a short warm-up, followed by corner work consisting of travelling, turns, kicks and leaps. This is followed by a short routine focused on style, dynamic range, performance and theatricality.
Required dress:
Jazz shoes and trainers that are suitable for dance (i.e. no Converse or similar fashion shoes that are not designed for dance). No loose clothing is permitted.
RECALL CONTEMPORARY CLASS
The Contemporary class will consist of various sequences and phrases, followed by exploration into retention of choreography and performance skills.
Required dress:
No loose clothing is permitted. Please bring split sole jazz shoes or ballet shoes.
FAQs
What makes a strong audition overall?
We are looking for dancers who demonstrate a solid foundation of prior training alongside strong performance instincts. This includes clarity of technique, coordination, flexibility and strength, and musicality, as well as focus, work ethic, and the ability to engage fully with the material. Just as importantly, we value adaptability, responsiveness to feedback, and a willingness to learn.
How important is technical level compared to performance?
Both are important, but we are interested in musicality, dynamic range, and performance intention are key indicators of readiness for training.
What if my training background is not traditional or highly technical?
We recognise that applicants come from a wide range of training environments. We are interested in your potential, responsiveness, and how you approach the work, not just prior training.
What are you assessing in the solo beyond technique?
We are looking at how you communicate through movement. This includes presence, intention, musical phrasing, and your ability to hold attention.
What happens if I make a mistake during my audition?
This is completely normal. We are more interested in how you respond, recover, and continue with focus than in flawless execution.
How do you assess potential in an audition setting?
We look at how quickly you process information, how you respond to corrections, and how you adapt your performance in real time.
What do you mean by “trainability”?
Trainability refers to how you receive, process, and apply feedback. We are looking for dancers who are open, responsive, and able to develop their work in the moment.
What should I do if I feel less confident in one style?
Approach it with focus and openness. We are not expecting perfection across all styles, but we are interested in how you engage with unfamiliar material.
How can I stand out in my audition?
By being clear, present, and committed. Strong auditions are not about doing more, but about doing your work with intention and clarity.
We are looking for performers with a strong foundation across acting, singing, and dance, and the confidence and commitment to integrate those disciplines into a compelling, triple threat performance.
Your audition should demonstrate control, storytelling, and dynamics, alongside the potential to operate at a professional standard after training at a leading triple-threat conservatoire.
Musical Theatre Courses
BA (Hons) Musical Theatre | Level 6 Diploma in Professional Musical Theatre | FdA Musical Theatre | CertHE Musical Theatre
Audition Fee: £45 (non-refundable)
Our audition process is your opportunity to show us who you are as a performer and what you could bring to training at Italia Conti.
Below, you will find an overview of everything you need to prepare.
Full audition briefing packs are sent out by our admissions team upon application and will include finer details including guidance on how to record a self-tape and how to submit your first round audition.
First Round (Self-Tape)
After completing the application process, you will be invited to prepare, record and submit an audition self-tape.
Applicants should compile the required components, editing them together into one continuous video. Required components include:
- Identification – your name and the programme(s) you are applying for
- Singing –Musical Theatre song of your choice, that is no longer then 1 minute 30 seconds long.
- Acting – Contemporary Speech from a modern play (1970-present day) of your choice, that is no longer then 1 minute 30 seconds long.
- Dance
- A solo dance piece in your preferred style, no longer than 1 minute, showcasing strengths, performance quality, musicality and special skills. (Please avoid tap unless this is your most advanced dance discipline)
- Prescribed dance exercises from the provided video (Kicks, Pirouette and Jump combination)
Video for First Round Auditions:
Each of these elements will be explained in more detail within the audition pack that is sent to auditionees with the audition submission date.
Some preparation guidance is offered below.
The self-tape should be compiled into one video and then submitted – help and advice on this can be found in the ‘How to Submit Your Self-Tape’ section of the audition pack.
NB those wanting to also be considered for the Dance courses will be asked to submit the Ballet exercises elements from the first round dance audition brief.
In a minority of instances, the panel may require a further tape or live-online audition responding to direction or feedback to consider ahead of a recall audition.
You’ll usually receive your results from the first round within 4 weeks of your submission date.
Possible outcomes include:
- In-person recall for the Musical Theatre and Dance Courses
- Live-online recall for the Musical Theatre and Dance Courses (international students and students who require reasonable adjustments only)
- Unsuccessful outcome
Recall (In-Person, Woking Campus)
Those who are successful in the first round will be invited to a recall audition on site at our Woking campus. The recall day will offer the opportunity to experience a day at Italia Conti. This stage enables us to explore your dance work in greater depth, assess your responsiveness to feedback and corrections, and understand how you engage within a training environment.
The recall day will include a recall panel audition focusing on singing, acting and an interview and a recall dance audition covering ballet, jazz and musical theatre performance.
You should prepare:
- Your first round dance solo and an interview
- Ballet class
- Contemporary class
- Jazz tech and performance class
- Speech 1 – Contemporary Speech from a modern play (1970-present day) of your choice, that is no longer then 1 minute 30 seconds long.
- Speech 2 – A contrasting speech. This may be a classical speech, or another contemporary speech that provides a contrast to speech 1.
- Song 1 – Golden Age Lyrical Song (a song written pre-1965 that shows a lyrical voice quality) of your choice, that is no longer then 1 minute 30 seconds long.
- Song 2 – Contrasting Musical Theatre song (usually post-1965 and should show a different voice quality or musical style) of your choice, that is no longer then 1 minute 30 seconds long.
You do not need to prepare a new songs or monologues (unless you have specifically been asked to do so), you can use the same material as you prepared for your self-tape. However, you may prepare new material if you would like to.
During the interview you will have the opportunity to discuss your previous experience and any questions you may have about the course.
In a minority of instances, the panel may require a further tape or live-online audition after the recall audition.
You’ll usually receive your results from the recall audition within 4 weeks of your recall date.
Possible outcomes include:
- Offer for the BA Musical Theatre / Diploma Musical Theatre / FDA Musical Theatre / BA Acting (Musical Theatre)
- Waiting List for the BA Musical Theatre / Diploma Musical Theatre / FDA Musical Theatre / BA Acting (Musical Theatre)
- Offer for the CertHE Musical Theatre / CertHE Dance / CertHE Acting (Musical Theatre)
- Waiting List for the CertHE Musical Theatre / CertHE Dance / CertHE Acting (Musical Theatre)
- A further online or in-person recall or self-tape request for another course, or to get to know you more
- Unsuccessful outcome
Preparation Guidance
Self-Tape Audition: Key Preparation
Submit a clear self-tape that demonstrates your technical foundation and performance quality across the jazz exercises, your dance solo, your song and speech.
- Follow the set jazz exercises accurately – precision, musicality, and clarity of technique are key.
- Choose your dance solo strategically – select a style that plays to your strengths and showcases your individuality, performance quality, and any standout skills.
- Use the space safely and effectively – ensure you have enough room to move fully without risk.
- Wear fitted clothing so the panel can clearly see alignment, placement, and movement detail.
- Must be a true reflection of acoustic singing voice with no audio editing or effects.
Recall Audition: Key Preparation
RECALL DANCE CLASS
The dance audition class will commence with ballet. Barre work – which may include Plies, Battement Tendu, Battement Glisse, Ronds de Jambe, Adage and Grand Battement. The Centre work will consist of an Adage and Pirouettes, then the Allegro section, which will include either a Petit Allegro or Grand Allegro (small or big jumps). The Jazz class will follow consisting of a short warm-up, followed by corner work consisting of travelling, turns, kicks and leaps. This is followed by a short routine focused on style, dynamic range, performance and theatricality.
Required dress:
Plain black leotard, skin coloured or black tights and ballet shoes with or without socks. If you chose to wear socks, they should match the colour of your shoes. Your hair should be neat and off the face. Pointe shoes are not required. No jewellery or watches to be worn. If you do not own dancewear, tight fitting clothing and bare feet will be fine. Jazz shoes and trainers that are suitable for dance (i.e. no Converse or similar fashion shoes that are not designed for dance). No loose clothing is permitted.
RECALL SINGING PANEL
Auditionees should prepare two musical theatre songs, one and a half minutes in length, that they enjoy singing and can sing well.
1. One Golden Age Lyrical song (c. pre-1965)
Suggested composers/lyricists can include: Rodgers and Hammerstein, Rodgers and Hart, Cole Porter, Learner and Loewe, Leonard Bernstein, Kurt Weill, Jerome Kern, Frank Loesser.
2. One Traditional or Contemporary Musical Theatre song (c post-1965)
Suggested composers/lyricists can include; Stephen Schwartz, Stephen Sondheim, Andrew Lloyd Webber, Alan Menken, Boubil and Schonberg, Jason Robert Brown, Lin Manuel-Miranda, Kander and Ebb, Jule Styne, Cy Coleman, Marvin Hamlisch, Tom Kitt, Laurence O’Keefe, Jerry Bock.
Preparation Advice
- Prioritise execution over difficulty – a well-performed, controlled piece of dance, singing or acting is more effective than overly ambitious material.
- Ensure that the song shows vocal and performance ability, suitable for your casting and voice type.
- May be a song or speech performed by a character of any gender.
- Avoid songs requiring extreme character voices.
- Songs should demonstrate skill in acting as well as singing.
- Please perform your speeches in your native accent.
- You should wear clothing that best represents you and/or helps with your characterisation.
- Please bring a copy of the sheet music, with clearly marked cuts, to provide to the audition pianist. You are not able to perform with a backing track.
FAQs
What makes a strong musical theatre audition overall?
We are looking for performers who demonstrate a foundation across acting, singing, and movement, alongside clear performance instinct. This includes vocal control, musicality, physical awareness, and the ability to communicate through text and song. Just as importantly, we value focus, adaptability, and how you engage with direction.
How important is it to balance all three disciplines?
We are not expecting perfection across all areas. However, strong candidates show an ability to connect their skills, for example acting through song, or maintaining performance quality within movement.
How should I approach my song choice?
Select material that suits your voice and casting, and allows you to demonstrate both vocal quality and storytelling. Songs that feel comfortable and connected are more effective than those chosen purely to impress.
What are you looking for in the acting element?
Clarity of thought, connection to text, and truthful communication. We are interested in how you bring the material to life, rather than presenting a fixed or over-rehearsed performance.
What are you assessing in the dance element?
We are looking for coordination, musicality, performance quality, and how you embody movement. Precision and clarity are more important than complexity.
How do you assess “trainability”?
Trainability is reflected in how you respond to direction, adapt your work, and remain open and engaged throughout the process. This is a key indicator of readiness for professional training.
What happens if I make a mistake during my audition?
This is expected. We are more interested in how you recover, stay present, and continue working with focus.
How should I approach the recall audition?
Treat it as a working day rather than a final performance. We are interested in how you engage across classes, panels, and workshops, and how you develop your work in response to feedback.
What are you looking for in the interview?
We want to understand your motivations, interests, and commitment to training. It is also an opportunity for you to ask questions and learn more about the course.
How can I stand out in my audition?
By being clear, present, and connected. Strong auditions are not about doing more, but about doing your work with intention, confidence, and authenticity.
Do I need to bring sheet music for recall auditions?
Yes. You should bring clearly marked sheet music for the accompanist.
What should I do if I feel less confident in one discipline?
This is completely normal. We are assessing your trainability, openness, and potential, not expecting equal strength across all areas at audition stage. Focus on engaging fully, applying direction, and showing a willingness to develop.
Strong candidates often demonstrate curiosity, resilience, and the ability to improve within the session. Where there is clear potential but an uneven skillset, some students choose to undertake a one-year foundation course to build technical consistency before progressing into three-year training.
We are looking for dancers with a strong technical foundation, underpinned by strength, coordination, and flexibility, and the confidence to apply that technique with commitment and flair.
Your audition should demonstrate control, musicality, and dynamic range, alongside an ability to perform and communicate through movement. We are assessing not only your current ability, but your the potential to operate at a professional standard after training at a leading conservatoire.
