How Pop/Rock is Reshaping the Broadway Industry: An Inside Look with Sydney Morton

Written By: Chelsea and Cynthia

Featuring: Sydney Morton

Pop and rock music are now an essential part of the musical theater world. Whether you're auditioning for a jukebox musical, a contemporary Broadway show, or even something traditionally “theatrical” like Les Misérables (which now asks for pop/rock songs in auditions!), understanding how to navigate this style is crucial.

To break it all down, we sat down with Sydney Morton, a Broadway star whose career spans Memphis, Evita, Motown, American Psycho, Jersey Boys, and Flashdance. Sydney has also made her mark in film and TV, starring as Meghan Markle in Harry & Meghan: Escaping the Palace. With extensive experience as a performer and educator, she shared her insights on choosing the right pop/rock audition song, embodying the style, and what musical theater singers often get wrong about pop music.

Q: Sydney, you didn’t start out as a pop/rock singer. How did you transition into this style?

A: When I started training, most of us had a choral or classical background. That was the norm—you learned art songs and Golden Age musical theater. I grew up surrounded by music—my family included classical and jazz musicians, and my aunt sang backup for James Brown, so I had a lot of R&B influence, too.

But in college, we were just starting to see more jukebox musicals emerge. The industry was shifting, and suddenly, you needed at least one pop song in your book for auditions. When I graduated, I found myself booking almost exclusively pop/rock shows, and I had to learn quickly.

Q: When you audition for pop/rock shows, do you always pick a song from the same era as the musical?

A: Not always! It’s more important to match the attitude, energy, and style of the show rather than sticking to the exact decade.

For Motown, I had to sing actual Motown music because Barry Gordy himself was in the audition room! But for Jersey Boys, where the women sang "My Boyfriend’s Back", I didn’t use another 60s song—I brought in Avril Lavigne’s "Girlfriend". It had the same feisty, rebellious energy, and they loved it.

For American Idiot, I sang Pat Benatar, even though she came years before Green Day. The rock attitude was what mattered.

Q: You used "I Wanna Dance With Somebody" as your senior showcase song, but you reimagined it in a brilliant way. Can you tell us about that?

A: Yes! I knew that imitating Whitney Houston would be a mistake, so I focused on the lyrics and storytelling. The song is about desperately wanting to dance with someone, so I leaned into that.

I turned it into a comedic piece—playing up the desperation, trying to join different dance groups on stage, and getting rejected. It made the song fun, high-stakes, and theatrical, while still keeping the essence of 80s pop.

Q: You’ve used the same song for multiple auditions. How do you adapt it to fit different shows?

A: The beauty of a great pop song is its flexibility!

I used "I Wanna Dance With Somebody" for High School Musical and Flashdance—two very different shows, but both characters lived in the same vocal pocket.

I also used "Love Is a Battlefield" for Spring Awakening, American Psycho, and American Idiot, but performed it differently for each show:

• For American Idiot – I leaned into rock angst, a big sound, and raw energy.
• For American Psycho – I made it eerier and more restrained, with a haunting stillness to match the psychological thriller tone.

Even small adjustments in tempo, volume, and physicality can completely transform a song to fit different auditions.

Q: Let’s talk about movement. Pop and rock music live in the body—how do you approach physicality in an audition?

A: Pop/rock isn’t just about singing—it’s about embodying the style. If you’re not in the pocket—meaning feeling the groove of the song—it will come across as stiff.

For American Idiot, I wore flat boots and had a grounded, ready-to-bolt energy. For American Psycho, I wore heels and a fitted dress, moved slowly and deliberately, and made my performance more sinister. Those choices changed the entire energy of the same song.

Q: What about wardrobe? How do you use clothing to enhance your performance without looking like you’re in costume?

A: Clothing can help anchor you in the world of the show.

For Jersey Boys, I didn’t dress like Avril Lavigne, even though I sang "Girlfriend". Instead, I styled myself as a 60s teenager, while using a modern pop song.

For Motown, I thought about how Supremes-style singers moved—they wore heels, pearls, and gloves, and that affected their performance style. Understanding these details makes a huge difference.

Q: Some musical theater performers struggle with pop/rock. What do they often get wrong?

A: Two big things:

1. They don’t embrace rhythm and movement. Pop and rock music live in the body—you can’t just stand and sing like you would in a Rodgers & Hammerstein show. I always tell my students: dance around your room, use a fake mic, and feel the beat before you start singing.
2. They don’t do enough research. People assume pop stars just “get up and sing,” but artists like Madonna, Michael Jackson, and Billy Joel spent years crafting their styles. Every pop/rock performance is deeply researched and intentional. Treat your audition with that same level of preparation.

Q: If you had one piece of advice for someone nervous about pop/rock auditions, what would it be?

A: Confidence is everything.

• Don’t worry about sounding exactly like the original artist—focus on embodying the energy and style.
• Make bold choices—it’s better to take a risk than to play it safe.
• Treat pop/rock like any other acting challenge—research the song, understand the era, and commit to the storytelling.

Sydney’s insights remind us that pop/rock auditions are about understanding the music, making bold choices, and bringing your own personality into the performance. With the right preparation and confidence, you can own the room—no matter what song you choose.

Pop/rock singing is no longer optional for musical theater performers—it’s essential.

That’s why Cynthia has developed Pop Rock Essentials: Musical Theater Edition, a self-paced online course designed to help you sound authentic, tell a believable story, and feel confident in every pop/rock audition.

You’ve got the talent, and you’ve got the skills—now let me show you how to step into pop/rock audition rooms with confidence.

Pre-order now at bwayvocalcoach.com/poprockessentials

If you're interested in diving deeper into this mindset or exploring other interesting musical theatre conversations, check out the Broadway Vocal Coach podcast! Or check us out on Instagram, and get involved in the conversation! 

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