What You Actually Need in Your Audition Book: Adam Wachter on Finding Rep That Works

“At a certain level, everyone can sing that note. So now casting is saying: who are you?” – Adam Wachter

If you’ve ever stared at your audition book and wondered, “Do I really need all of this?” — this episode of the Broadway Vocal Coach Podcast is for you.

We sat down with Titanique music director, composer, and author Adam Wachter to talk about his new book Your Rep Book: How to Find, Choose, and Prepare Successful Audition Songs — and how to simplify your audition material so it actually works for you.

Because here’s the truth: your rep book isn’t a museum. It’s a living, evolving tool that should grow with you as an artist.

💡 What You’ll Learn from Adam Wachter

🎓 1. Your rep book should evolve with your career

Adam reminds us that what you need in your audition book changes dramatically depending on where you are in your journey.

For high school students auditioning for college programs, you don’t need 20 songs — you need a few high-quality pieces that highlight your potential. Admissions panels aren’t looking for finished products; they’re looking for musicality, storytelling instincts, and raw ability they can train.

For early-career performers, right out of college or entering the professional world, this is often when your book is largest. You’re trying on styles, discovering what you sing best, and figuring out what casting types you naturally fall into. It’s a period of experimentation — and that’s okay.

Then, as you gain experience and start booking work, your book can get smaller again. At that stage, people know who you are and what you bring to the table. Instead of twenty “just in case” songs, you can focus on the few that define you.

“It’s an ever-evolving tool in an actor’s tool belt.” – Adam Wachter

🎶 2. Focus on quality over quantity

It’s easy to believe that more songs equals more opportunities — but that’s not how casting works.

Adam’s advice? Ten to twelve songs is plenty if you’re auditioning regularly. That’s enough to cover multiple styles and time periods without overwhelming yourself (or your accompanist).

Think of your rep book as a capsule wardrobe for your auditions — a curated collection of pieces that all fit, flatter, and serve a purpose.

Here’s a smart starting point:

• 1–2 Golden Age musical theatre songs (pre -1965)

• 1–2 contemporary musical theatre songs (story-driven, modern writing)

• 1–2 pop/rock songs (authentic to your style, playable on piano)

• 1 uptempo and 1 ballad in each category if possible

That alone will give you plenty of flexibility. Then, as you gain experience, add songs strategically to fill gaps rather than just collecting new material for fun.

“You don’t need a vast quantity of songs. You need a few high-quality ones that you know really well, that feel like you, and that you can execute consistently.” – Adam Wachter

🚫 3. Stop worrying about “overdone” songs

This topic comes up constantly — and Adam’s answer might surprise you.

“Songs become overdone for a reason — they’re good songs.”

Instead of spending hours Googling “songs nobody sings,” focus on how you sing what you love. Because at a certain level, everyone can hit the notes — but not everyone can make the room feel something.

Casting isn’t searching for the rarest song in the world. They’re looking for you — your individuality, point of view, and energy.

“The way casting is leaning these days is less about ‘show us what you can do,’ and more about ‘show us who you are.’”

If a song fits you like a glove and you can deliver it with heart, it doesn’t matter if ten other people sang it that morning. You’ll stand out by being specific, grounded, and present.

🎤 4. Choose songs that tell a story — even in pop/rock auditions

One of the most valuable distinctions Adam makes is between jukebox musicals and story-driven pop/rock shows.

In jukebox musicals (Jersey Boys, Beautiful, MJ), you’re performing as the artist — a heightened version of yourself in concert.
In story musicals (Jagged Little Pill, Moulin Rouge, & Juliet), you’re still telling a story through character, even though the songs are pop.

That means your pop/rock cut should stand on its own as a piece of acting — not just vocal fireworks.

“If the whole song relies on a drum loop or guitar riff, it won’t support you in the room. It has to sound good on piano.”

Start with artists whose songs were written on piano — Sara Bareilles, Elton John, Billy Joel — or pop writers who use strong storytelling in their lyrics. These songs already bridge the gap between concert and character.

When in doubt, ask:

• Does this song tell a story from beginning to end?

• Does it give me a clear emotional arc?

• Can it hold up when played on piano?

If you can answer yes to all three, you’ve got a winner.

💖 5. Find joy in your material

Your rep book shouldn’t feel like a weight you drag around. It should make you want to sing.

“Your songs should spark joy. They shouldn’t be stressful.” – Adam Wachter

If every page in your book feels like a “should,” it’s time to reevaluate. Choose material that reflects your taste, your humor, your voice, and your story.

When your songs feel like you, auditioning becomes less about proving yourself — and more about sharing yourself.

✂️ Our Favorite Takeaway

Don’t overthink it. The best audition book is one that reflects you — your personality, your voice, your artistry.

It’s not about collecting songs. It’s about curating stories.

🎧 Listen to the Episode

Catch the full conversation with Adam Wachter on the Broadway Vocal Coach Podcast wherever you listen!
👉 Listen on Apple Podcasts  | 🎧 Listen on Spotify 

📚 Connect with Adam

Website: adamwachter.com 
Instagram: @adamwachter 
Book: Your Rep Book: How to Find, Choose, and Prepare Successful Audition Songs — available wherever books are sold
Audiobook: Coming soon (with Adam at the piano!)