Choose a song that shows what you can do, not what you can't. It's always better to do a great version of a relatively easy song than struggle with something noble but slightly out of your current vocal reach. For most professional auditions you need at least two good songs on hand; one ballad and one up tempo, and neither should be from the show for which you are auditioning. Both types of songs should contain some extended notes and some high notes which show off the voice and your ability to sustain the tone smoothly. For amateur productions the audition panel usually prefer you do a song from the show, from the role you are seeking to get.

Song background: as well as learning the song, read the libretto of the show the song comes from. Listen to the CD. Work out which of the characters in the musical would best suit your type of voice. For an amateur production you should sing one of those songs; for a professional production you should find a similar song by the same composer, from a different show. Or a song which is in a similar musical style - professional audition panels get bored stiff hearing the same standard repertoire over and over again. For one thing they know those songs really well themselves, and secondly they may have performed those songs or heard live performances by some of the world's best artists, so you have to compete against high expectations when you sing a well-known showtune.

Nerves: Don't be frightened of being nervous. Nerves are only emotional excitement over the task at hand, and are an important source of energy and stimulation. Without nerves your audition would be dull and flat. Focus on the character you are presenting, and how you want your audience to perceive the character, rather than thinking about what they are going to think of you personally.

Acting: The time for developing your vocal technique is at lessons and at home. At the audition you can't afford to think too much about the technical vocal issue, apart from proper breathing to get you started and breathing at the right place so that the high notes are strong and secure. While you are singing the song keep thinking about why the character is singing the song - their motivation and aspirations, and show the audience those feelings.

At the audition: your performance starts from the moment your name is called. Walk towards the stage naturally but with purpose and poise, as though relaxed but ready for action. Talk to the accompanist clearly, pointing out any special features of the way you are doing the song, and demonstrate the tempo you want to sing the song at. If they start too slowly or too fast then just stick to your rehearsed speed - they will follow you, if they are any good.

Sing to an imaginary audience located just behind the audition panel - avoid eye contact, but remember that you're there to entertain the audience, not wander round on stage having a good time in your own little world. Long periods of closing your eyes nearly always stops the communication between singer and audience. (That technique may look good in a video, where the camera is drawing the viewer into the experience, but on stage it just looks like the actor is self absorbed.) Remember that the listener is on your side - they are looking for talent and want you to be as good as possible - they are not out to destroy your confidence. If the audition panel start talking, don't assume it is a bad sign - they may be discussing your suitability for particular roles.

After you have sung: Wait for further direction from the panel. Don't stare or look uncomfortable. Be prepared to do part of the song again in a different way as requested, or to sing a scale to demonstrate your vocal range. (Don't exaggerate about your range on an audition application form!)

If you don't get offered a callback: be prepared for this. A day's depression is fair enough when you miss out on a role you really wanted, but a professional just gets back up on the horse, and continues to work on their skills and repertoire. There are many reasons for not getting a role that have nothing to do with your particular level of talent - you may be the wrong height, the wrong age, have the wrong hair colour, not be sufficiently well-known to the director. These days directors rule the roost, and they have some very strong preconceptions of what they are looking for. They will often choose someone who looks just like what they have planned before the auditions, and compromise on singing ability accordingly. Personally I think they would sell more tickets if they chose great singers first, and then looked for good acting, but with theatre currently so heavily influence by TV and cinema, the visual tends to dominate.

Mistakes: If they occur, sail right on by. The show must go on. S*** happens. How you cope with mistakes is just as important as its occurrence. Act as though nothing went wrong - don't roll your eyes, lose your intensity, or try to backtrack. The accompanist has the music with the words - they will follow you, as long as you keep going. If they don't follow you, then stop and tell them where you wish to restart from, and then get back into character and continue as though nothing erroneous happened.