Choosing an audition song is the part of musical theatre that nobody really teaches you. You can have a decent voice, a good ear and a genuine love of the show, and still walk into the room with a song that does you no favours at all. I learned how to choose mine the slow way, through trial and error in real audition rooms, and the idea I’d start anyone with is simple: start with your voice, then find the song.
This post is the hub for the audition songs part of my free singing lessons series. It covers how to choose a musical theatre audition song, what panels in amateur societies are actually listening for, and a starting list of songs for each voice type: soprano, mezzo-soprano, alto, tenor, baritone and bass. Each voice type is getting its own full guide with songs at beginner, intermediate and advanced level. The first one, best mezzo-soprano audition songs, is already live, and I’ll link the rest here as they go up.
If you’re not sure which voice type you are yet, read my guide to vocal types first. Everything below makes more sense once you know roughly where your voice sits.
What Makes a Good Musical Theatre Audition Song
It Suits the Voice You Have Today
The best audition song is one that shows off the voice you have now, not the voice you hope to have in a year. Panels hear a lot of singers reaching for notes that sit just outside their comfortable range, and the strain is the thing they remember. A song that sits well, with one or two moments that stretch you a little, will almost always serve you better than one that’s a battle from the first bar.
It’s worth thinking about tessitura here, which is just a fancy word for where a song spends most of its time. A song can have one high note and otherwise live comfortably in the middle of your voice, or it can sit high for bars at a time. The second kind is far more tiring, and far more likely to go wrong when you’re nervous.
It Tells a Story in a Short Space
Most audition songs get cut down to a short section, so the song needs to go somewhere quickly. The strongest cuts have a turn in them: a moment where the character decides something, realises something or changes their mind. That gives you something to act, not just something to sing, and acting through the song is what makes a panel lean forward.
It Fits the Show You’re Auditioning For
If you’re auditioning for a golden age show, a warm, legit ballad will usually make more sense than a rock belt. If the show is a pop or jukebox musical, something with more contemporary bite is a better fit. You don’t have to sing a song from the show itself (and some societies actively ask you not to), but singing something in a similar style helps the panel imagine you in it.
You Actually Like It
This sounds obvious, but it matters. You’ll sing your audition song dozens of times in rehearsal before the day, and a song you’re bored of will sound like a song you’re bored of. Pick something you’d happily sing in the car.
How Long Should a Musical Theatre Audition Song Be?
16 Bars, 32 Bars or the Full Song
Audition notices usually ask for one of three things: a 16 bar cut, a 32 bar cut, or a full song. In practice, a 16 bar cut is often somewhere around 30 to 45 seconds and a 32 bar cut is closer to a minute or a minute and a half. Nobody is counting bars with a stopwatch. What they want is a clear beginning, middle and end that shows off your voice and your acting in the time they have.
Always read the audition notice properly. Amateur societies vary a lot. Some ask for a song from the show, some ask for anything but the show, and some give you a set audition piece to learn. If the notice doesn’t say, it’s completely fine to email and ask.
How to Cut a Song
The easiest way to build a cut is to work backwards. Find the moment you most want the panel to hear, usually the emotional or vocal peak, then go back far enough to set it up. Start at a clear musical phrase, end on a resolved chord, and sing it through with a timer running. If it’s too long, trim from the middle, never the payoff.
Have a Second Song Ready
Even if you’re only asked for one song, it’s worth having a contrasting second one ready: an uptempo if your main song is a ballad, or the other way round. Panels sometimes ask to hear something different, and having an answer ready looks far more prepared than scrambling for one.
Audition Songs by Voice Type: Quick Reference
Here’s the short version. Each voice type below gets a few starter songs from shows that amateur societies regularly put on, with more detail underneath. The ranges are rough guides, not rules, and plenty of singers sit between two types.
| Voice type | Rough range | Classic musical theatre roles | Starter audition songs |
|---|---|---|---|
| Soprano | Roughly C4 to A5 or higher | Laurey (Oklahoma!), Carrie and Julie (Carousel), Amalia (She Loves Me) | Mister Snow, Many a New Day, Vanilla Ice Cream |
| Mezzo-soprano | Roughly A3 to F5 | Adelaide (Guys and Dolls), Hodel (Fiddler on the Roof), Sally Bowles (Cabaret) | Adelaide’s Lament, Far From the Home I Love, Maybe This Time |
| Alto | Roughly F3 to D5 | Joanne (Company), Diana Morales (A Chorus Line), Mama Morton (Chicago) | Nothing, The Ladies Who Lunch, When You’re Good to Mama |
| Tenor | Roughly C3 to A4 or higher | Tony (West Side Story), Pippin (Pippin), Jack Kelly (Newsies) | Maria, Corner of the Sky, Santa Fe |
| Baritone | Roughly A2 to F4 | Curly (Oklahoma!), Sky Masterson (Guys and Dolls) | Oh, What a Beautiful Mornin’, Luck Be a Lady |
| Bass and bass-baritone | Roughly E2 to E4 | Joe (Show Boat), Tevye (Fiddler on the Roof) | Ol’ Man River, If I Were a Rich Man |
Soprano Audition Songs
Sopranos in musical theatre range from light, bright ingénues to big legit voices, and more and more modern soprano roles ask for a strong mix too. Golden age shows are a goldmine for soprano audition material, partly because so many of the heroines were written for this voice.
I’m a mezzo at heart, but I did sing soprano as Yum-Yum in Hot Mikado with Erewash Musical Society. It was a real challenge for my voice, and I took vocal lessons all the way through that production, which helped me find my voice. So if you’re a mezzo wondering whether you can stretch up into soprano material, the honest answer is sometimes, with work.
Mister Snow (Carousel)
Carrie Pipperidge sings this to her friend Julie about her new fiancé, the fisherman Enoch Snow. It’s sweet, funny and full of character, which makes it a lovely choice if you want to show warmth and comic timing rather than just a pretty sound. My guide to Carousel covers the show in more depth.
Many a New Day (Oklahoma!)
Laurey’s bright, defiant number, sung with the girls of the ensemble. It’s light and confident, and it suits a younger soprano who wants to show spirit as well as a clean top. There’s more on the show in my Oklahoma! guide.
Vanilla Ice Cream (She Loves Me)
Amalia sings this after an unexpected visit and a gift of ice cream make her realise her feelings have changed. It’s a brilliant acting song, because the character works something out in real time, and it shows off a legit top if you have one. It’s an advanced choice, so save it until your top notes feel secure.
A full soprano audition songs guide, with songs at beginner, intermediate and advanced level, is coming soon in this series.
Mezzo-Soprano Audition Songs
Mezzo-soprano is the voice type I know best, because it’s mine. I can sing soprano in solo roles, but in ensemble settings I naturally gravitate towards mezzo, and that’s where my voice feels strongest. I’ve written a full guide to the best mezzo-soprano audition songs for every level, with twelve songs, tables by level and some less overdone picks, so here’s just a taste.
Adelaide’s Lament (Guys and Dolls)
Miss Adelaide reads a medical book and decides her endless cold is down to her fiancé Nathan refusing to marry her. The vocal line is gentle and the comedy does the heavy lifting, which makes it a brilliant first audition song. My Guys and Dolls guide has the full story.
Far From the Home I Love (Fiddler on the Roof)
Hodel says goodbye to her father at the railway station before leaving to join the man she loves. It’s still, simple and emotional, and the stillness does most of the work for you if you trust it.
Maybe This Time (Cabaret)
A 1964 Kander and Ebb song that was added to the 1972 film for Sally Bowles and has been part of stage revivals since 1998. It builds in waves, so it needs real control over your dynamics rather than just volume. It’s a great audition song, but note that Cabaret itself is currently withdrawn for performance in the UK and Ireland (more on that in the licensing section below).
Alto Audition Songs
True altos are rarer in musical theatre than you might think, and a lot of alto roles are written as low, character-driven belts rather than classical contralto parts. That’s good news for auditions, because alto songs tend to be full of attitude and personality.
Nothing (A Chorus Line)
Diana Morales tells the story of her disastrous high school acting class. It’s funny, it’s specific, and it has a real emotional turn, which makes it a fantastic cut for a strong low belt who can also act.
The Ladies Who Lunch (Company)
Joanne’s sharp, boozy takedown of wealthy women with too much time on their hands, sung late at night in a nightclub. It’s an advanced choice, because the song lives or dies on acting and diction rather than pure vocal power, and Sondheim’s phrasing rarely sits where you expect it to.
When You’re Good to Mama (Chicago)
Matron Mama Morton explains how things really work in the jail she runs. It’s a big, brassy showcase for a low belt with plenty of swagger. Like Cabaret, Chicago is currently withdrawn for performance in the UK and Ireland, but that doesn’t stop you singing the song at an audition.
A full alto audition songs guide is coming soon in this series.
Tenor Audition Songs
Tenors are in demand in almost every amateur society, so if you’re a tenor, you’re probably already being asked to audition. Musical theatre tenor writing ranges from romantic legit lines to rock and pop belts, and it’s worth having at least one song in each style.
Maria (West Side Story)
Tony sings this after meeting Maria at the dance, outside her window. It’s one of the great tenor showcases, with a sustained, soaring line, so it suits a singer with a secure top and good breath control. Because it’s so well known, you’ll need to bring real wonder to it rather than relying on the tune.
Corner of the Sky (Pippin)
Pippin sings this early in the show about wanting to find his purpose. It’s a contemporary, pop-leaning tenor song with a strong build, and it’s a good choice if you want to show warmth and energy rather than a legit sound.
Santa Fe (Newsies)
Jack Kelly tells his friend Crutchie about his dream of a better life out West. It’s a big, heartfelt belt with a clear emotional journey, which makes it cut beautifully. Newsies has only recently become available to UK and Irish amateur groups, so it’s still a relatively fresh choice in UK audition rooms.
A full tenor audition songs guide is coming soon in this series.
Baritone Audition Songs
Baritone is the most common male voice type, and it has some of the most generous repertoire in musical theatre. Golden age shows are full of baritone leading men, and many of their songs are just as good for auditions today.
Oh, What a Beautiful Mornin’ (Oklahoma!)
Curly’s opening number, and one of the most famous first songs in musical theatre. It’s warm, easy and full of charm, so it’s a great choice for a baritone who wants to show an open, relaxed sound and a likeable character from the first note.
Luck Be a Lady (Guys and Dolls)
Sky Masterson sings this at the crap game in the sewer, with everything riding on a roll of the dice. It’s a confident, rhythmic song that rewards swagger and clear storytelling, and it cuts well to a punchy 32 bars.
If you like golden age baritone writing, my guide to Rodgers and Hammerstein musicals is full of roles worth exploring. A full baritone audition songs guide is coming soon in this series.
Bass and Bass-Baritone Audition Songs
True basses are the rarest voice type in most societies, which means a good bass is often very welcome at auditions. Bass roles tend to be fathers, authority figures and characters with real gravity, so the songs reward stillness and depth as much as low notes.
Ol’ Man River (Show Boat)
Joe sings this in Show Boat, which opened at the Ziegfeld Theatre in December 1927. It’s one of the most famous bass songs in musical theatre, slow and weighty, and it needs a singer who can sustain a low line with real tone and real meaning behind it.
If I Were a Rich Man (Fiddler on the Roof)
Tevye daydreams about wealth while doing his milk round on his own because his horse is lame. It’s a character song first and a vocal showcase second, so it’s ideal for a bass-baritone with good comic instincts. It also shows a panel you can carry a big role.
A full bass audition songs guide is coming next in this series.
Audition Songs for Beginners and Returners
Start Small and Secure
If it’s your first audition, or your first in a long time, pick something that sits comfortably and that you know inside out. I had a long break from performing myself, from 2000 until I came back in 2023, so if you’re coming back after years away, you’re in good company. A song you’re confident in will let your nerves settle by the second line. A song you’re still fighting will make them worse.
Character Songs Are Your Friend
Comedy and character songs like Adelaide’s Lament or Mister Snow are brilliant for beginners, because they give you something to play. You’re thinking about the character, not your voice, which is exactly where your head should be. My guide to what to expect at your first am dram audition covers the rest of the day, from warm-ups to the walk into the room.
Don’t Worry About Being Perfect
Amateur societies are looking for people they can work with, not finished products. A panel will usually forgive a wobble on a top note if you’re clearly committed to the song and the character. They are far less forgiving of a song that’s obviously been picked to impress rather than to suit you.
Songs to Think Twice About
The Overdone List
Some songs get sung so often that panels can mouth along. That doesn’t make them bad songs, but it makes it harder to stand out. In the mezzo world, songs like She Used to Be Mine (Waitress) and Don’t Rain on My Parade (Funny Girl) are in that territory. If you love one of these, sing it brilliantly, but have a less familiar alternative ready too.
The Big Showstopper Out of Context
Eleven o’clock numbers, the huge songs near the end of a show, can be tricky in auditions. They often depend on everything the character has been through in the previous two hours, and without that build they can feel like a lot of shouting. A song from earlier in a show, where the character is still finding their way, is often easier to make work in 90 seconds.
Songs From the Show You’re Auditioning For
Unless the audition notice asks for one, singing a song from the show itself is a risk. The panel will compare you with whoever they already have in mind, and they may want to hear you in something different. Read the notice, and ask if you’re unsure.
Getting the Practical Side Right
Sheet Music and Keys
If there’s a pianist, bring clean, clearly marked sheet music in the key you want to sing in, with your cut, any repeats and any tempo changes written in plain English. Don’t assume the accompanist will have time to study it. If a song sits slightly wrong for you, it’s fine to ask a musical director or vocal coach to help transpose it. Most panels care far more about whether you sound confident than whether you sang the original key.
Backing Tracks
Some societies use backing tracks instead of a pianist. Check the notice, have your track ready on a device you trust, and make sure it starts exactly where your cut begins. A track that sounds huge in your headphones can disappear in a big hall, so practise singing over it at a realistic volume.
Warm Up and Rehearse the Cut, Not the Song
Rehearse the exact cut you’ll sing, from the exact starting point, until starting cold feels normal. Warm up properly on the day, too. The rest of this free singing lessons series covers breath, warm-ups and technique in more detail.
A Quick Note on Licensing
Singing a song at an audition is a different thing from staging the show it comes from. But if any of these shows has caught your eye for your society, the rights sit with a licensor, and UK amateur availability changes from show to show and over time. I checked every show in this post on the licensors’ UK websites on 3 November 2026:
| Show | UK licensor | What the licensor’s page said (3 Nov 2026) |
|---|---|---|
| Carousel | Concord Theatricals | Listed for licensing; fees quoted on application |
| Oklahoma! | Concord Theatricals | Listed for licensing; fees quoted on application |
| She Loves Me | MTI Europe | Amateur licence requests open |
| Guys and Dolls | MTI Europe | Amateur licence requests open |
| Fiddler on the Roof | MTI Europe | Amateur licence requests open |
| Cabaret | Concord Theatricals | Performance rights currently withdrawn in the UK and Ireland |
| A Chorus Line | Concord Theatricals | Listed for licensing; fees quoted on application |
| Company | MTI Europe | Amateur licence requests open |
| Chicago | Concord Theatricals | Performance rights currently withdrawn in the UK and Ireland |
| West Side Story | MTI Europe | Amateur licence requests open |
| Pippin | MTI Europe | Amateur licence requests open |
| Newsies | MTI Europe | Available in the UK and Ireland, with a maximum ticket price of £22 |
| Show Boat | Concord Theatricals | Listed for licensing; fees quoted on application |
Being listed isn’t the same as being available for your dates and venue, so always ask the licensor before you announce anything. I haven’t checked the shows I mention only in passing (Waitress, Funny Girl and Hot Mikado), so treat those the same way.
How I’d Choose an Audition Song
Voice First, Then Character
Start with your voice type and the part of your range that feels strongest. Then look for characters who live there. Then, and only then, look for the song. Working in that order stops you falling for a song that was never going to suit you.
Test It Away From Pressure
Sing the song through a few times on your own, just for yourself. Notice whether you’re thinking about the notes or the character by the second verse. If it still doesn’t feel like you after a few goes, it won’t suddenly feel like you in the audition room either. That’s the piece of advice I’d pass on first.
Keep Your Book Fresh
Revisit your audition songs every six months or so. Your voice changes, songs go in and out of fashion, and a song that felt like a stretch last year might be your strongest piece now. A small book of three or four songs you know inside out beats a folder of twenty you half know.
Musical Theatre Audition Song FAQs
What is a good musical theatre audition song?
One that suits your voice as it is today, tells a clear story in a short space, fits the style of the show you’re auditioning for, and that you enjoy singing. Famous is optional.
How long should a musical theatre audition song be?
It depends on the audition notice. A 16 bar cut is usually around 30 to 45 seconds and a 32 bar cut around a minute to a minute and a half. Some societies ask for a full song or a set piece instead.
Should I sing a song from the show I’m auditioning for?
Only if the audition notice asks for one. Otherwise, a song in a similar style from a different show usually works better, because the panel hears you on your own terms.
How do I find audition songs for my voice type?
Work out your voice type first (my vocal types guide will help), then look at the roles written for it and the songs those characters sing. The voice type sections above are a starting point, and my mezzo-soprano audition songs guide goes into much more detail for mezzos.
Is it OK to change the key of an audition song?
Yes. Amateur panels care much more about whether you sound confident and connected than whether you sang the printed key. Just make sure the accompanist has sheet music in your key.
New to am dram altogether? Start with how to join an amateur theatre society in the UK, and if you want to know which shows ask the most of their singers, I’ve written about the hardest musicals to perform too.