With over 17 years working on Broadway, National Tours, and in Regional Productions, I bring my experience and training to every single coaching, giving clients the full focus and attention on achieving their goals. Vocal Coaching is a collaborative process; I find success in dialoging the experience of understanding what is happening in the music and lyrics, and making strong acting choices within the song. helping you prepare for your audition starts with the text in the song; we discuss what motivates you to sing this song in this particular moment. The text should feel fresh and new, like it is the very first time this lyric has been sung.

Performers need to be able to communicate with their audition accompanist.  As a music director and audition accompanist, I know what the creative team is looking for on the other side of the table. I help performers in their ability to know the tempo of their songs, and how to communicate with their accompanist. I work with performers on style, vocal delivery and performance practices in everything from early musical theatre, Rodgers & Hammerstein, to current Broadway shows.

Many performers who have coached with me have gone on to book Broadway, Off-Broadway shows, National Tours and various Cruise Line contracts. I currently work with performers auditions and booking Broadway and regional productions.

Say yes to investing in yourself and your talents! As your vocal coach I will help take your audition and performance to the next level in your career.

Rates:

$65/half hour

$125/1 hour session

$200/2 1-hour sessions (save $25!)

$300/3 1-hour sessions (save $50!)

Accompaniment Track Recording (rates vary based on song length and difficulty contact me for rates)

I work in-person at my studio in NYC, or remotely over video (FaceTime, Zoom)

Needing financial assistance? I’m happy to work with you and your budget. Contact me about scheduling and payment options. Looking forward to working with you!

Read what other performers say about working with Micah in their testimonials:

I provide leadership as a Master Class Technician in Performance, as well as play the piano to demonstrate and accompany performers looking for the real-world experience. My unique perspective as a working artist in New York and on Broadway provides me with in-depth knowledge of the current trends and aesthetics in the industry.

For my full Academic Resume:

The Master Class format includes:

• 1 to 3 hours or more, depending on the size of your ensemble, and the number of performing participants.

• Time for each performer to sing their material in front of the class

• Engage in dialogue with myself and the group.

• Try the material again with adjustments

• Gaining experience from the process of presenting material. Performance in practice.

• Classes are available in New York, and can be tailored to your interests and goals.

  References Available upon request

  
  Contact me to set up a free consultation. I look forward to working with you!

It is important to share the knowledge of the industry with the next generation of artists. Whether you are in a School, University or Theatre ensemble, I offer in-depth courses on various subjects within the industry. I’ve created curriculum both for online and in-person.

As a Teaching Artist, I have worked at various institutions and Arts Programs including:

• Coastal Carolina University - Artist-in-residence

• Barrington Stages Musical Theatre Conservatory - Music Director and Educator

• US Performing Arts - Music Director and Educator

• Hunter College - Music Director

• Eastern New Mexico University - Guest Speaker

• NYU - Music Director

• AMDA - Music Director

• Broadway Online Official Masterclass - Music Director and Educator

• Broadway Plus Online - Composition and Vocal Coach

• New Jersey Young Thespians - Masterclass

• Minot State University - Masterclass Technician

For my full Academic Resume:

Most recently I was the Artist-in-Residence at Coastal Carolina University in Conway, SC, where I music directed “Merrily We Roll Along,” and taught two courses; one course on ensemble work within musicals, and a course on Broadway Flops.

I designed a course on Musical Theatre composition for the Broadway Online Official Masterclass (BOOM)

The overview of Current Curriculum offered:

• Musical Theatre Composition (6 week course, Previously taught at the Broadway Official Online Masterclass):

  • Week 1: Introduction to Song Structure:

    • Discuss various song structures within musical theatre writing: AABA, AABC, AABA, ABAC with examples.

    • Songs found in musical moments that develop a dramatic element of a character and/or move the plot forward (Transition, Realization, Decision) with examples.

  • Week 2: What songs can accomplish

    • When to transition from speaking to singing and where songs function within a musical.

    • Opening Number, I Want Song, Conditional Love Song, The Charm Song, The Eleven o’clock Number, Finale, with examples.

  • Week Three: Lyrics and Lyricists, Book Writing

    • Understanding the mechanics of rhyme schemes and scansion.

    • The importance of meter, syllabic phrasing within lyrics to adhere to each A section, B section, etc. with examples.

  • Week Four: Scene to Song

    • Establishing the conceit of the musical: the vocabulary, colors and sounds used to tell the story, with examples.

  • Week Five: Adaptation

    • Discuss the nature of adaption, taking a book, movie, play and seeing what has worked for adapting.

    • Pitfalls, missteps in adaptations, musical adaptations that could have (should have) worked. with examples.

  • Week Six: Rewrites

    • Taking in notes for considerations, the responses from audiences.

    • Readings, and concerts, how the process of working and reworking shows has changed.

    • The final collaboration of sharing the work; rewriting is the writing.

• Broadway Flops (6 week course, taught at Coastal Carolina University):

  • The course will cover the history of shows, creative teams, adaptation, economics of producing musicals and the pitfalls of the Broadway Industry. The purpose of the course is to examine shows that flopped and determine if they were justly criticized and if the score has any redeemable songs for performance. Participants will engage in healthy discussion surrounding the topics presented by the instructor.

  • The advanced study of Broadway shows that flopped, (did not recoup or run successfully), examining throughout the canon.

  • Introduction/Critical Assessment: posit questions of critical assessment. How are musicals judged? What is the consensus of aesthetic then and now?

  • Participants will examine the unique challenges facing broadway musicals, both in the past and present.

  • Venue/Context: How is a show perceived based on the context and Venue? Broadway vs. Pop vs. Opera.

  • Adaptation: What is worth adaption? What is a good/bad idea? Do we have a sense of what can or cannot be adapted?

  • Star Vehicles: How does a movie star make or break a Broadway show? Many instances of star power making changes, bettering a show more challenging. Speaking truth to power in an artistic setting. Who is really in charge?

  • Potential Do’s and Don’ts: Are there rules to follow in building a musical? Can we determine what they are and what to look for when setting out to audition, work and be a part of a new show.

  • The Cost of doing business: How were show marketed? How are they marketed now? Does that affect the success or failure of a show’s life? Out of town tryouts vs. opening in town.

• Broadway Ensemble (6 week course, taught at Coastal Carolina University):

  • The advanced study of ensemble works within the musical theatre repertoire. This course focuses on the elements and techniques used to craft process for the musical theatre actor, work as an ensemble, and the unique performance demands required to create it at a proficient level.

  • Repertoire chosen based on the size and experience level of the ensemble.

  • Course Objectives:

    • Participants will identify the style of a given piece of music, and learn how to best approach it in practice and performance.

    • Participants will examine the unique challenges faced within an ensemble setting, focusing on score study and analysis.

    • Participants will identify a foundation for furthering their musicianship and overall awareness of harmonic structures and tuning voices within the ensemble.

    • Participants will examine and take inspiration from performances of artists from diverse backgrounds and experiences.

    • Participants will acquire techniques to aid in their own learning.

    • Identify the specific challenges in the repertoire covered.

    • Understand what is expected in a professional setting.

    • Discuss the progress in technique and performance.

Have an idea or class in mind? Let’s talk and create one together!

References available upon request

Contact me to set up a free consultation. I look forward to working with you!