We are very much looking forward to meeting you at your audition. Please read these notes carefully as they will help you prepare to the best of your availability.

Once you have received your Audition time please let us know as soon as possible should you need to reschedule your audition. If we receive a week’s prior notice, there is no extra charge for rescheduling.


Please prepare two contrasting Musical Theatre songs.

Please prepare a short monologue/speech between 2-3mins in length.

An accompanist will be provided

A short interview will follow your audition to give us a chance to get to know you and give you a chance to ask any questions.

When you are auditioning for Associated Studios Musical Theatre courses you are automatically auditioning for ALL courses. The panel will advise you if they feel another course would be more suitable for you. The panel can also explain the different benefits and structure of each course you might be considered for.


Monologues and Speeches:

Choose a monologue that speaks to you personally, that excites you and you find easy to identify with. There are books available full of monologues to be found in various theatre book shops. Make sure the monologue is no more than 3 minutes long and is a clear unit and that it has a definite beginning and end.

Consider and decide: What is the situation at the start and what is the situation by the end of the monologue (i.e. the change that takes place)
Make absolutely sure that you read and re-read the entire play!
Right from the start, think and refer to your character as ‘I’; not as he or she. This will help you identify with and live inside your character’s skin.

Introductory Questions:

  • Who am I addressing?
  • Where does this monologue appear in the play?
  • What happened up to this point in the play?
  • Why am I ( character) speaking this monologue now?
  • What do I ( character) want the other character/s to do as a result of me   addressing them? (i.e. what is my Objective and what is my Action?)
  • What is at stake (what happens if I don’t get what I want?)
  • Do I (my character) succeed or fail?

Two contrasting Musical Theatre Songs:

Please choose and practice your songs well before your audition. Muscle memory takes roughly 3 weeks to be in place.

Most songs work better in an audition if you have had a chance to perform them at least once. This can be at an Open Mic night or even to family and friends.

When choosing your songs please be aware that in most auditions the panel is interested in two contrasting songs in two different vocal styles. For example one ‘legit’ or ‘head voice’ ‘classical musical theatre’ song and perhaps one slightly more contemporary, ‘modal voice’, ‘speech quality’, or belty song. One song might be an emotional ballad, one might be up tempo or a character song.

It is always a good idea to stay away from the ‘Mega musicals’ such as Wicked, Phantom, Les Mis etc.

If at all possible, go through the songs with a pianist at least once before your audition. If you have never sung the songs with the real piano accompaniments before, this can throw you at audition. Do seek advice from your Singing Teacher (if you have one).

Make sure you have the sheet music taped, or in a display book with cuts clearly marked.

Make sure you have practiced the song as it is written, rather than learned it from a recording as these are frequently in various versions and keys.

Do have a look at the performance history of the song. If the song is traditionally sung by a character who is 30 years older than you, or sung by the opposite sex, consider choosing a song which is a little closer to your casting.

Choose songs which show off your vocal ability. Try not to choose songs which are currently too challenging.

Try to practice your technique rigorously before your audition. Voices are like the rest of your body. To be vocally fit takes regular and disciplined practice.

Do get enough rest, drink plenty of water and leave adequate time to get to your audition so that you are not rushing.

Consider applying the acting notes above to your ‘acting through song’.

Do make sure you know the lyricist, the composer and the show the song is from.

The above notes are there to support you and guide you. Please remember that the panel is experienced enough to be able to tell potential.

Please remember that the audition should also be a positive experience for you, giving you the chance to perform, to meet some of the coaches at Associated Studios and to ask questions. The panel will be able to give you advice on which course is most suitable for you. An Associated Studios audition means that you will automatically be considered for all programmes.

The team at  Associated Studios wishes you all the best with your preparation, and we look forward to meeting you at your audition.

Leontine Hass – CEO

Founding Principal | Vocal Coach
Leontine Hass is an internationally renowned Vocal Coach and Principal of the Associated Studios London Performing Arts Academy.

Leontine Hass is currently vocal coach for Motown at The Shaftesbury Theatre London. She has served as vocal coach to Matt Henry (Lola in Kinky Boots West End), Alice Stokoe (Sophie in Mamma Mia, West End), Gloria Onitiri (Lead in The Bodyguard & Hair, West End), Claire Sweeney (Tell Me on a Sunday) and many other leads and swings in the West End, national and international tours of productions such as Thriller-Live, Oliver!, Carousel, Parade, Tell Me on a Sunday, The Lion King, The Phantom of the Opera, Witches of Eastwick, Nine, The Wizard of Oz, Ragtime, Sweeney Todd, Cats, Sister Act, We Will Rock You, Footloose, Wicked, The Sound of Music, Ghost, Hairspray, Porgy and Bess, The Bodyguard, Jesus Christ Superstar, Jersey Boys, Barnum, Miss Saigon, Book of Mormon, Mamma Mia, In the Heights, The Color Purple, Memphis, Spamalot, Les Miserables, Miss Saigon, Aladdin, Chicago, The Pyjama Game, Kinky Boots and the upcoming production of Dreamgirls.

Leontine coaches members of The Swingle Singers, Collabro, The Magnets, The Sons of Pitches and classical singers with ENO, Welsh National Opera and ROH, as well as Pop/Rock/Jazz singers. Leontine was the Vocal Coach for shows including the London premiere of Bernarda Alba the Musical, and currently the a cappella hit, ‘Gobsmacked’.

Leontine teaches workshops and lectures internationally on singing, voice and performance. She rehabilitates voices after surgery, or as surgery prevention. She has taught at leading Music & Drama Schools including GSA Conservatoire, the Oxford School of Drama, Mountview, LSMT, YMT, The Brit School, La Salle (Singapore), the Queensland Conservatorium, Centre Stage and The VCA (Melbourne).

Leontine has acted as vocal consultant to various music management/production companies, including ITV and the BBC. Leontine is vocal coach for ‘The Voice’ for BBC TV. She was featured as a mentor/vocal coach on the Gareth Malone show, ‘The Naked Choir’, for BBC2 and will also be involved with Series 2. She is a regular columnist at and for The Stage newspaper. She is a contributor to ‘The Singer’s Complete Guide to Vocal Health’ (Oxford Uni. Press), and advisor/contributor to ‘The Ultimate Guide to Singing’ published by TC Helicon in 2014.

Having originally trained as a classical singer (BA, Melb. Uni, BMus. Kings College London, Dip. RAM), Leontine has performed as a singer and actress in concert, theatre and TV.

Leontine is the CEO/Founding Principal of the Associated Studios Performing Arts Academy London, which she founded in 2007, then based at The Royal Academy of Music. Associated Studios provides full-time and part-time training and professional development in Musical Theatre and Opera ( The Board of Directors includes Rory Bremner (Chair), Patrick Lawrence QC and Dr Christopher Stewardson. Patrons include Sir Tim Rice, Jeremy Irons, Jeremy Herrin, Timothy West and Scott Alan.

Leontine is represented by Lesley Duff at Diamond Management.