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Audition Terms, Explained.
Theatre has its own vocabulary, and nobody should feel like they’re supposed to already know it. Here are the terms students and parents will commonly encounter in audition notices, coaching sessions and the audition room—explained in plain English.
Audition Terminology
A–C
16-Bar / 32-Bar Cut
A common length for a musical theatre audition song selection. The number refers to measures of music, not necessarily a specific number of seconds. Choose a section that feels complete and shows your voice and storytelling—not simply the first 16 or 32 bars of the song.
Accompanist
A musician, usually a pianist, who plays live while you sing. If an accompanist is provided, bring clearly marked sheet music and be prepared to briefly show them where your song begins and ends.
Audition Notice
The information provided by the theatre or casting team explaining what they’re looking for and what you should prepare. Read it carefully—requirements can vary significantly from one audition to another.
Belt / Mix / Legit
Terms describing different vocal qualities or styles. Belt generally refers to a strong, speech-like sound; mix blends qualities of chest and head voice; legit typically refers to a more classical musical theatre sound. If an audition requests a particular style, choose material that comfortably demonstrates it.
Backing Track
A recorded instrumental track used while you sing. Unless instructed otherwise, your track should not include the lead vocal you’ll be performing.
Ballad
A slower song that often emphasizes storytelling, emotion and sustained singing. If an audition asks for both a ballad and an up-tempo, they generally want to hear two different sides of you.
Book / Repertoire Book
A collection of audition songs you know and are prepared to perform, usually kept as organized sheet music in a binder. You may hear performers simply call this “my book.”
Callback
An invitation to return after an initial audition so the creative team can see more from you. You may be asked to sing, act, dance, read specific scenes or work with other performers.
Casting Team
The people involved in deciding who will perform each role. Depending on the production, this may include the director, music director, choreographer, casting director and others.
Choreographer
The person responsible for creating and teaching the movement and dance in a production. The choreographer may lead the dance portion of an audition and help evaluate how performers move, learn choreography and tell a story physically.
Choices
The decisions you make about how you perform your material—who you’re talking to, what you want, how you react and what the moment means to you. Strong choices make a performance feel intentional rather than simply memorized.
Cold Read
Performing material you’ve been given with little or no advance preparation. The goal usually isn’t perfection; it’s seeing how you approach unfamiliar material and respond to direction.
Contrasting Songs
Two songs that show different sides of you as a performer. The contrast might come from tempo, style, character, emotion or vocal quality.
Cut / Required Cut
A shortened section of a song or monologue prepared for an audition. An audition notice might request something like a 16-bar cut, 32-bar cut or 60-second cut.
D–H
Dance Combination
A short sequence of choreography taught during a dance audition. You’ll usually learn it as a group, practice it briefly and then perform it in smaller groups. Focus on picking up the movement, staying engaged and continuing confidently even if you make a mistake.
Dance Call / Dance Component
The portion of an audition where performers learn and perform choreography. Wear clothing and shoes that allow you to move safely unless the audition provides specific instructions.
Director
The person responsible for guiding the overall creative vision of a production and working with actors on character, storytelling and performance. The director is often part of the casting team and may give you adjustments or direction during an audition or callback.
Ensemble
Performers who help create the larger world of a production rather than playing one principal character. Ensemble performers may sing, dance, act, play smaller roles—and often do quite a lot more than people realize.
Headshot
A current photograph that helps the audition team identify and remember you. For student performers, an expensive professional headshot may not be necessary unless the audition specifically requires one.
M–R
Material
Whatever you’re preparing to perform at an audition—such as a song, monologue, scene or dance combination.
Monologue
A section of a play or other dramatic work performed by one actor. Audition notices may specify a length, style, genre or whether the monologue should come from a published play.
Music Director
The person responsible for the musical side of a production, including vocals, harmonies and working with singers and musicians. The music director is often part of the audition team for musicals.
Résumé
A one-page summary of your performance experience, training and relevant skills. Student résumés can be short—everyone has a first show.
S–T
Self-Tape
An audition recorded on video and submitted electronically rather than performed in person. Follow the submission instructions carefully, including framing, file format, slate and deadline requirements.
Sheet Music
The written musical notation for your song. When a live accompanist is provided, bring clean, readable music with your cut clearly marked.
Sides
Selected pages or scenes from a script provided for an audition or callback. You may receive them ahead of time or when you arrive.
Slate
A brief introduction before performing, particularly for a self-tape. It may include your name, the piece you’re performing or other requested information—follow the audition’s specific instructions.
Starting Position
Where and how you place yourself immediately before beginning your material. Decide this ahead of time so you can begin confidently instead of figuring it out while everyone is watching.
Time Limit
The maximum amount of time allowed for your audition material. If the notice says 60 seconds, treat that as a limit—not a suggestion to see whether they'll give you 73.
U–W
Up-Tempo
A faster, energetic song, often used to contrast with a ballad. The best choice isn’t necessarily the fastest song you can find—it should still show your voice, personality and storytelling.
Vocal Range
The span from the lowest note to the highest note you can comfortably sing. Casting information may list the vocal range needed for a role. Your usable range matters more than simply being able to hit a note once.
Warm-Up
Physical, vocal and mental preparation before performing. The goal is to get your body and voice ready—not to exhaust yourself before you enter the room.
Still have questions?
You don’t need to know all of this before you start. That’s what coaching is for.