The New Studio on Broadway integrates foundational acting training with vocal and physical techniques drawing upon the repertoire of the American musical, contemporary American plays, and the traditional classical canon to hone the actor’s instrument in all aspects of all three disciplines essential to be an actor in the Musical Theatre: Acting, Singing and Dancing.

The course of study emphasizes exposure to the traditional musical canon plus new work, non-musical plays, world music, heightened language, dance and contemporary, globally-diverse performance forms, both new and traditional.

Teaching students the power and value of the ensemble and collaboration, students of New Studio on Broadway have core acting, speech/voice, vocal performance, dance, and physical acting classes, stressing acting as the binding, essential skill required in all areas. This will equip young artists to meet the fluid, changing demands of a progressive and diverse art form on Broadway and on global stages.

Collaboration with the Tisch Graduate Musical Theatre Writing Program teaches how to work with composers, lyricists, librettists, choreographers and directors on readings, workshops and full productions of new World Premiere Musicals, a skill very different from working on the established repertoire of Broadway classics. This is the only new musical theatre collaboration program in this country. It is a core aspect of what makes the New Studio on Broadway… NEW!

New York, NY

Conservatory Style in Liberal Arts Environment

B.F.A. in Drama

Small (<10k Students)

50K-60K

No

Monologues

• Two contemporary monologues, must be under 2 minutes in length
• We define “contemporary” as anything written from around 1900 to now
• All monologues must be from published plays, no film/TV scripts; no original material
• Please choose material that is within your age range, roles you would be cast in now
• Props and costumes are not permitted
• No dialects

Songs

• Two contrasting songs, 32 bars each
• One must be from the published musical theatre canon
• Standard Broadway repertoire would include: Rodgers and Hammerstein, Rodgers and Hart, Kern and Hammerstein, Lerner and Loewe, Stephen Sondheim, Leonard Bernstein, Cole Porter, Irving Berlin, Kurt Weill, Cy Coleman, Jules Styne, Bock and Harnick, Kander and Ebb, George Gershwin, Duke Ellington, Stephen Schwartz, Jonathan Larson, Jason Robert Brown, Michael John LaChiusa, Andrew Lippa, Adam Guettel, Noel Coward, Rupert Holmes, Jeanine Tesori, Andrew Lloyd Webber, Jerry Herman, Yip Harburg, Harold Arlen, Marvin Hamlisch, Alan Menken, Galt MacDermot, etc.
• One 32-bar cut may be from either musical theatre or a published contemporary piece
• Pieces may be from rock, pop, hip-hop, jazz, gospel, country, opera, classical, etc.
• An accompanist will be provided for the singing evaluation
• Please bring sheet music for the accompanist
• Each 32-bar cut must be clearly marked
• Sheet music must be double-sided and placed in a three-ring binder
• Evaluator may test your vocal range
• Please be prepared to sing additional selections if requested

Dance

• All music theatre candidates must participate in a dance evaluation. The purpose of this evaluation is for us to learn where you are in your own dance/movement life. Are you a serious dancer with years of experience and training? Have you never taken a dance class but like to groove to your favorite song when it comes on the radio? Are you somewhere in between — perhaps you learned some choreography for a musical at school? We just want to know where you are right now.
• Freshperson music theatre candidates attending artistic reviews in New York, Chicago, Los Angeles, and Miami, along with transfer music theatre candidates in New York, will participate in a dance call, wherein they will be taught a combination incorporating elements of ballet and contemporary dance.

Conversation

• You will have an opportunity to converse with your evaluator immediately after presenting your monologues
• We’ve watched your work as an artist and now we want to learn about you as a person

New York
January 8-20, 2018

Miami
January 29, 2108

Chicago
February 3-6, 2018

Los Angeles
Feb 9-12, 2018

Tisch Scholarship Guide

No- freshpeople must wait one year before they are eligible to audition for departmental or studio productions.

Kent Gash, Founding Director of NYU Tisch School for the Arts’ New Studio on Broadway;
Associate Arts Professor; Academic Director
212-998-1950
kent.gash@nyu.edu

Tisch NYU MT Home Page

Common Application

Tisch NYU

Artistic Review Guidelines

Material/Instruction for uploading information about your artistic review:

PHOTO:  A snapshot is preferable, as long as you are recognizable in the photo.  The file must be in JPEG format and must be less than 500 KB in size.  Photo dimensions, for example, could be 240 x 360 pixels.

RESUME: Your résumé should contain all of your performing arts-related experience, in addition to community service, non-theater extracurricular activities and academic honors.
The file must be in PDF format and must be less than 1 MB in size.

Artistc Review Materials

Acting, Music Theatre candidates must provide the following information about each monologue:

• Play
• Playwright
• Character

Music Theatre candidates must also provide the following information about each song selection:

• Musical
• Composer/Lyricist
• Character
• Song Title

Explanation of NYU’s School of Drama Studio Program

• Upon acceptance into the department, students are placed into one of eight different primary studios where they begin intensive conservatory training towards a strong foundation in technique.  Students remain in their primary studio for two full years (four consecutive semesters). Once primary training is completed, students have many options for advanced training.
• It is important to understand that you are applying to the Department of Drama at Tisch School of the Arts and not to a particular studio.  The studio placement decision lies with the Department of Drama.
• Once primary training is completed, you will have many options for advanced training during your remaining semesters.  You may stay in your primary studio to delve deeper into the technique or you might try advanced training at another primary studio to learn a different approach to creating performance.  Some studios are only available at the advanced level, as they are more specialized in training.  Focus areas include: classical training, Viewpoints theory and acting for the camera.  You may also choose to do an internship or study abroad to continue your professional training.