Question 1

Is Stageready affiliated with colleges or audition platforms?

Accepted Answer

No. Stageready is an independent resource built by a professional college audition coach to help students and families understand audition requirements and program differences. We do not represent, rank, or speak on behalf of any college or university.

Question 2

Does Stageready guarantee admission or better outcomes?

Accepted Answer

No. College theatre admissions are subjective, and no platform can guarantee results. Stageready focuses on clarity — helping families understand requirements, deadlines, and program fit so they can make informed decisions and avoid preventable mistakes.

Question 3

How often is information updated?

Accepted Answer

Information is reviewed and updated regularly during the audition cycle. Each page includes a “last updated” note so families know how current the information is. If you find outdated or incorrect information, please use our contact form so that we can address it as soon as possible.

Question 4

What does "(W)" mean next to a GPA?

Accepted Answer

The **(W)** next to a GPA stands for **weighted**. Some schools report their average GPA on a weighted scale, which accounts for honors and AP coursework and can exceed 4.0. An unweighted GPA uses a standard 0–4.0 scale.

When you sort by Average GPA on stageready, we normalize weighted GPAs so they compare fairly against unweighted ones. This means a school with a 4.3 weighted GPA won't automatically rank above a school with a 3.9 unweighted GPA — the sort reflects approximate academic rigor more accurately.

**In short:**
- **No label** = unweighted (standard 4.0 scale)
- **(W)** = weighted (may exceed 4.0, includes AP/honors bonus)

Question 5

What does "General" under a program's concentration mean?

Accepted Answer

General refers to the option of not selecting an optional concentration within the program. Not all programs with concentrations offer this, but "General" will appear for the ones that do.

Question 6

What is the difference between a BFA and a BA?

Accepted Answer

**Bachelor of Fine Arts (BFA)** and **Bachelor of Arts (BA)** are quite different:

**BFA** is a **pre-professional, conservatory-style** degree. About 60-75% of your coursework is in your major (acting, musical theatre, design, etc.). It's intensive, often audition-based, and focused on preparing you for a professional career. Class sizes tend to be small and selective.

**BA** is a **liberal arts** degree with a theatre or dance major. About 30-40% of your coursework is in your major, leaving more room for electives, double majors, or minors in other fields. It's broader and more flexible.

**Which is right for you?**

Choose **BFA** if you're committed to pursuing theatre/dance as a career and want intensive, focused training.

Choose **BA** if you want to study theatre/dance alongside other interests, or want more academic flexibility.

Some students start in a BA program and transfer into the BFA after their first year, or vice versa. Many successful professionals hold either degree — it's about the training and opportunities, not just the letters.

Question 7

What is the difference between a BA and a BS in Theatre or Dance?

Accepted Answer

A **Bachelor of Arts (BA)** and a **Bachelor of Science (BS)** in Theatre or Dance typically have the same core theatre/dance curriculum — same classes, same faculty, same audition process. The difference is in general education requirements:

- **BA** usually requires foreign language credits and more humanities/liberal arts courses
- **BS** usually requires more math and science courses

Many schools offer both options under one program (listed as "BA/BS"), letting students choose the path that best fits their academic interests outside of their major. The theatre or dance training itself is the same either way.

When comparing programs, focus on the actual theatre/dance curriculum and training rather than whether it's labeled BA or BS.

Question 8

What's the difference between a BFA and a BM in Musical Theatre?

Accepted Answer

Both are intensive, pre-professional degrees — the difference is which department you're in:

**BFA (Bachelor of Fine Arts)** — Offered by **theatre departments**. The most common conservatory-style degree for Musical Theatre. Training is balanced across acting, singing, and dance, with about 60–75% of coursework in your major.

**BM (Bachelor of Music)** — Offered by a school's **music department**. BM students take the same core music curriculum as vocal performance majors — more music theory, ear training, sight-reading, and musicianship — alongside acting and dance training. This track tends to produce especially strong singer-actors. Schools like Cincinnati (CCM) and University of Michigan offer the BM route.

**Bottom line:** Both degrees are highly focused with limited elective space. The key difference is whether your home base is the theatre department (BFA) or the music school (BM), which shapes the emphasis of your training.

Question 9

I wanted a BFA in Musical Theatre, but the program I really like has a BFA in Theatre with a concentration in Musical Theatre. Is there a difference?

Accepted Answer

There is no difference

Question 10

What do I do for my Dance?

Accepted Answer

The most cost-effective option is to use the choreography previously provided by various schools, that best suits you. Here are some options:

Howard University: https://www.youtube.com/watch?v=z7RahK-Rmqw

Texas State: https://www.youtube.com/watch?v=Blrj0wZ5xW0

Nazareth: https://www.youtube.com/watch?v=qBO4O_EYM0c

Emerson: https://www.youtube.com/watch?v=r9BhChSpMwo

Pace: https://drive.google.com/file/d/1_iwh-XyP8NTEUxZIf1T1tJzTOWipEC27/view?usp=sharing

Abelene Christian: https://www.youtube.com/watch?v=_nKbZnaWXRY

Other options: 
- Use a dance from a show you've done! Modify it so that it meets the requirements for the schools you're auditioning for.

- Search "MT Prescreen Dance" or something similar on YouTube and you'll find a multitude of options.

- Hire someone to choreograph for you (or choreograph yourself, but only if that is a VERY strong skillset that you possess).

Question 11

What do I do for my Wildcard?

Accepted Answer

This is your chance for schools to see you — not just your acting. Share your personality, interests, or something that matters to you. As with all things in the arts, there's no "right" choice. Ask yourself: What do I want them to know about me? What aspect of me has nothing to do with performing?

Your wild card can be anything that shows who you are, such as:

- Learning how to do a new skill like skateboarding or rowing
- Sharing a hobby or activity that's important to you
- How-to video (calligraphy, gymnastics, set a table in Morocco, etc.)
- Performing in a language you're fluent in other than English
- Taking us along at your job
- Playing an instrument
- Showing a dance style you love or excel in (tap, hip hop, lyrical, ballet, and more)
- An SNL style sketch
- Singing, playing, or performing an original song, poem, or dance

The goal isn't perfection — it's authenticity. Choose something that feels like you.

Try to stay away from these commonly done formats:

- GRWM
- Baking
- Makeup Tutorials

Question 12

Monologue Do and Do Nots for Musical Theatre & Acting

Accepted Answer

Here are all the DOs and DO NOTs compiled from every school we've listed. At the bottom, you will see a list of MAYBES that some schools abide by and others don't, so make sure you look carefully at each school:

✅ DO
- Choose monologues from published plays
- Select characters within 5–10 years of your playable age
- Choose material that is authentic to your culture, background, and lived experience
- Pick active monologues that take place in real time and focus on what the character wants
- Make sure each monologue has a clear beginning, middle, and end, with a journey, discovery, or change
- Read the entire play and understand your character in the context of the full story before auditioning
- Choose well-written material with strong language and structure
- Present contrasting monologues (differences in tone, language, and character)
- Portray one character per monologue 
- Select pieces you connect with, enjoy, and genuinely love
- Have fun—if you’re not enjoying the piece, it won’t be a strong audition

🚫 DO NOT
- Do original or unpublished work
- Perform stand-up comedy or material that sounds like it
- Imitate an actor from a film version of a play
- Play a small child
- Play characters with serious mental deficiencies
- Perform characters under the influence of mind-altering substances
- Choose characters far outside your age range (e.g., a 17-year-old playing someone over 30)
- Use monologues that rely on extreme or climactic emotional intensity
- Select material that is overly sexual, violent, or offensive
- Choose monologues that require accents, eccentric characterizations, props, or costumes
- Attempt a monologue without understanding the full play
- Use material that doesn’t allow for a clear emotional or dramatic journey
- Do not explain what is happening in the play
- Do not say, "scene" at the end

🤔 MAYBE (depending on the school, but mostly NO)
- Use monologues from movies, musicals, TV script, novel, the internet, or monologue books

But if there are so many rules, how do I find a monologue? Check back soon for our approved monologue database 😉

___

✅ DOs — Selection
Choose age-appropriate material — within 5-10 years of your playable age (nearly every school says this)
Read the ENTIRE play — be prepared to discuss context, character, and given circumstances (Ball State, Catawba, CCM, Howard, LMU, UNCSA, many more)
Pick material that feels authentic to your culture, background, and lived experience (Ithaca, Cal State Chico, Montclair)
Choose "active" monologues — happening in real time, direct communication with a scene partner, focused on what you WANT (Rider, Cal State Chico, Ithaca, Syracuse, Emerson, Montclair)
Make sure your monologue has a journey — beginning, middle, end with a discovery or change (Ball State, NYU Steinhardt)
Contrast your two pieces — comedic vs dramatic, classical vs contemporary, different tones/language styles/characters (everyone)
Choose material you love and connect with — "if you're not having fun, it's not a strong audition!" (Texas State, Ball State, LMU, Azusa Pacific)
Gender of character doesn't have to match yours (NYU, USC, Juilliard, Norwalk)
Have extra pieces ready — some schools may ask for additional material (Juilliard wants 4, Rutgers wants 2 + 2 backups, CalArts wants 1 in reserve)

✅ DOs — Preparation & Performance
Memorize completely — every school requires this
Slate properly: your name, play title, playwright, character name (check each school's specific slate format)
Use your natural voice — no accents or dialects unless absolutely necessary (Michigan, USC, NYU, Rider, LMU, Chapman, Millikin, many more)
Show physical expressiveness — Syracuse recommends filming at least one monologue full body to show physical life
Demonstrate listening and reacting to an unseen character's responses (Northwestern)
Show tactical adjustments — overcoming obstacles in real time (Northwestern)
Bring headshot and resume to live callbacks (Brenau, Syracuse)

✅ DOs — Filming (Prescreens)
Follow framing instructions exactly — close-up (head to chest), medium (mid-torso to head), ¾ shot (head to knees), or full body varies by school
Film each monologue as a separate video (Southeast Missouri, Pace, UCLA, Otterbein)
One continuous shot — no editing (BU, UBC)
BU has a unique requirement: second monologue must be "site-specific" with a secondary activity, filmed in a unique location!
Syracuse virtual callback: includes a 90-second NON-HUMAN CREATURE movement recording 🐾

---
🚫 DON'Ts — Material
❌ No musicals for monologue material (nearly universal — NYU, Pace, Stephens, UCLA, Ohio U, CMU, Syracuse, Wright State, etc.)
❌ No film/TV scripts at most schools (NYU, Ohio U, Pace, UCLA, UNCSA, published plays only)
❌ No monologue books or "freestanding internet monologues" (Ball State, BGSU, UCLA, Howard, UNCSA)
❌ No original/self-written material at most schools (NYU, Millikin — exception: Juilliard allows it for contemporary if you also have a published play piece)
❌ No dialogue pieced together to make a monologue (NYU)
❌ No stand-up comedy routines (Towson)
❌ Avoid overdone plays: Rabbit Hole, Red, Prodigal Son, She Kills Monsters (UT Austin); Christopher Durang, Neil Simon, or common monologue book pieces (Millikin)
❌ Avoid overdone Shakespeare: Romeo & Juliet, Macbeth, Hamlet (LMU strongly advises against)

🚫 DON'Ts — Character/Content
❌ No characters way outside your age range — don't play small children or very old characters (Towson, Ball State)
❌ No characters with serious mental deficiencies (Towson)
❌ No characters under influence of mind-altering substances (Towson)
❌ Avoid overly sexual, violent, or offensive material (Ball State)
❌ Avoid climactic material requiring great depth of extreme emotions — hard to justify in a short piece (Ball State, Emerson, Montclair, Rider)
❌ No storytelling/remembrance monologues — avoid narrating past events, phone calls, or speaking to crowd/audience (Millikin, Cal State Fullerton)
❌ No monologues about auditioning (CCM)
❌ No monologues about eating disorders or self-harm (CCM)
❌ Avoid Neil LaBute (CCM specifically says this)

🚫 DON'Ts — Performance
❌ No accents or dialects — use your natural voice (universal)
❌ No props or costumes (NYU, Central Michigan, Azusa Pacific — some allow simple objects like paper or phone)
❌ No highly exaggerated, cartoon-type, or farcical characters (LMU, Chapman)
❌ No imitations of film actors (Towson)
❌ Don't explain what's happening in the play before your monologue (UCLA)

Question 13

Song Dos and Do Nots for Musical Theatre

Accepted Answer

Here are all the DOs and DO NOTs compiled from every school we've listed. At the bottom, you will see a list of MAYBES that some schools abide by and others don't, so make sure you look carefully at each school:

✅ DO
✅ Have at least one song from the musical theatre canon — most schools require it (NYU, USC, Pace, Montclair, etc.)
✅ Consider having one classic MT piece and one contemporary MT from the last 5-10 years (Manhattan School of Music)
✅ For schools wanting pre/post-1970 splits: Golden Age, Rodgers & Hammerstein, Cole Porter, Sondheim, Bernstein count as pre-1970; Schwartz, Larson, Jason Robert Brown, Lippa, Guettel, Tesori count as post-1970 (NYU gives a full list)
✅ "Sing what you love" and "what showcases you" — Baldwin Wallace literally says this
✅ Pop, rock, country, hip-hop ARE acceptable for one of your selections at many schools (Ball State, MTCP Option B schools, Syracuse, etc.)
✅ You MAY self-accompany on guitar, piano, or ukulele at some schools (Shenandoah, NYU Contemporary Voice)
✅ Make each song have an emotional arc with a clear objective (USC)
✅ Make your situation "as honest and specific as possible" (U of Michigan)

How to prepare your cuts:
✅ 32-bar cuts are the standard for live auditions — know where your best 32 bars are
✅ 60-90 seconds is the standard for prescreens — time yourself including the slate
✅ Mark your cuts clearly on the sheet music
✅ Have MULTIPLE songs ready in your book — audition panels may ask for more (Norwalk, Baldwin Wallace, NYU)
✅ BW says they'll "choose two of your selections" — so have a full book ready

Contrasting means:
✅ Fast tempo vs slow tempo
✅ Sustained melodic singing vs speech-like singing
✅ Dramatic vs comedic
✅ Belt vs head voice/falsetto mix
✅ Different decades/time periods
✅ Different styles (classic vs contemporary)
(Cal State Chico, Ithaca, and Syracuse all spell this out)

For filmed prescreens:
✅ Some schools want ONE song full frame + ONE song close-up — read each school's specs carefully (Penn State, Stephens)
✅ Songs should be filmed as separate videos, not one continuous take
✅ Accepted formats: .avi, .flv, .m4v, .mkv, .mpeg, .mp4, .webm, .wmv (CU Boulder Music)
✅ YouTube links are generally the safest upload method — but only YouTube, not Vimeo or Google Drive (CU Boulder)

For live auditions specifically:
✅ Bring sheet music even if you used tracks for prescreen — live auditions usually have an accompanist
✅ Bring backup tracks AND sheet music to regionals (Norwalk, Shenandoah)
✅ Be ready to take direction/coaching from faculty on your pieces during callbacks (Slippery Rock, Otterbein)

❌ Don't sing a cappella (most schools explicitly ban it — only SMU, Juilliard, Howard, and UNCSA allow/require it)
❌ Don't lip-sync to a pre-recorded vocal track (UCLA)
❌ Don't use digital enhancement like reverb or auto-tune (UCLA)
❌ Don't send audio-only recordings — video is required
❌ Don't send DVDs or CDs
❌ Don't use YouTube links on platforms that don't accept them — check each school's specs
❌ Don't go over the time limit (includes your slate!)
❌ Don't have long instrumental introductions — get to the singing (Boston Conservatory)

❌ Don't sing your loudest or highest note just to show off — focus on musicality and storytelling (U of Michigan)
❌ Don't use a chair or props in vocal auditions (U of Michigan)
❌ Don't pick songs outside your comfortable range
❌ Don't choose a character way outside your playable age range — stay within 5-10 years (Ball State)
❌ Don't pick two songs that are the same style/tempo/era — contrast is everything

MAYBE
❌ Don't sing art songs or arias for MT auditions (Ball State) — save those for classical voice
❌ Don't sing rock, pop, country, or jazz for NYU Steinhardt BM Vocal Performance/MT — they specifically say to avoid those genres

Question 14

What's the difference between a Classical Monologue and a Contemporary monologue?

Accepted Answer

⚡ What "Classical" means varies by school:
- Pre-1900 (USC, Baldwin Wallace, Roosevelt)
- Pre-1950 (Ithaca, Point Park, Nazareth)
- Shakespeare specifically required (Juilliard, CalArts, Carnegie "preferably")
- "Heightened language" (Carnegie, Texas Tech, Point Park — includes Shakespeare, Molière, Marlowe, August Wilson, Tony Kushner, Suzan-Lori Parks, Mike Bartlett, Andrea Gibson)

⚡ What "Contemporary" means varies too:
- Post-2000 (Ohio U, Rutgers, Syracuse prefer this)
- Post-1950 (most common — Ithaca, Penn State, Pace, Emerson)
- Post-1945 (Marymount Manhattan)
- Post-1900 (NYU, USC)

Question 15

What is a self-tape and how do I setup for one?

Accepted Answer

tba

Question 16

How do I slate?

Accepted Answer

tba

Question 17

How does the typical college audition go?

Accepted Answer

tba

Question 18

What is a movement call?

Accepted Answer

tba

Question 19

What do I do if they just say "two contrasting monologues"?

Accepted Answer

In general, you can do two contemporary or a classical and contemporary!

Frequently Asked Questions

General

Programs

Degree Types

Submissions

General

Programs

Degree Types

Submissions