Behind the Scenes with Aspire Program Director, Julie Kavanagh!

When it comes to preparing for college musical theatre auditions, few people bring the level of expertise, experience, and passion that Julie Kavanagh offers. As the Program Director for BVC Aspire, Julie draws from her impressive career as a professional performer and dedicated arts educator.

With a BFA in Musical Theatre from the University of Cincinnati College-Conservatory of Music and national tour credits that include Mrs. Doubtfire, Hello, Dolly!, and La Cage aux Folles, Julie has graced stages across the country. Her work at renowned regional theatres such as The Old Globe, Goodspeed Opera House, and The MUNY (where she performed for 15 summers as a kid, teen, and adult!) speaks to her versatility and commitment to the craft.

Beyond her impressive performance career, Julie’s passion for mentorship shines through her work as a college audition coach, choreographer, and instructor, helping aspiring performers reach their dreams. Her unique combination of real-world performance experience and a deep understanding of the college audition process makes her an invaluable leader for BVC Aspire. We are so grateful to have Julie on our team!

About Julie

Q: Can you tell us a little bit about your journey? How did you get from studying at CCM to becoming a performer, educator, and now Program Director for Aspire?

A: I grew up in St. Louis, MO, and from a very young age, I fell in love with musical theatre. St. Louis has a thriving theatre scene - filled with amazing Regional Theatres, community theatres, and training programs. There were many opportunities, and I was fortunate that my parents supported me in taking advantage of as many as possible. After high school, I attended the University of Cincinnati - College Conservatory of Music to get my BFA in Musical Theatre. College auditions were very different back then, and while I wish I had had more guidance and knowledge, I was fortunate to be accepted into a program that I had immediately fallen in love with.

Once at school, it was all about pouring myself into everything - and that was definitely doable in a BFA MT program where you are working on your craft at all hours of the day. I remember many late-night practice room sessions and studying scenes until wee hours of the morning. I don’t know when I slept or how I did it. But it was worth it, and school gave me the building blocks I have used in my career to this day.

I started to dive into my professional career the summer before I went to college when I was hired in the Ensemble for a production of Grease at The MUNY in St. Louis and became a member of the Actors Union, Actors Equity Association. I had the opportunity to perform at both The MUNY and Stages St. Louis throughout the summers while I was in college, which gave me even more training in what a life performing as a job might begin to look and feel like.

Many BFA programs culminate their 4 years with a Senior Showcase. This is a curated performance in which students highlight select material that showcases their skills and who they are. It introduces young performers to the industry in NYC and sometimes Chicago and LA. I signed with an Agent following my NYC showcase in the late spring of my Senior year of college and dove into the next chapter of life.

Auditions, shows, and adventures living in a city I had always dreamed of. I experienced the rollercoaster of moving to NYC and finding a side job between my performance jobs. Immediately, I knew that I loved working with kids, so I started babysitting. Then, a close friend reached out to see if I would be interested in subbing some Musical Theatre classes for her at a studio in Connecticut. Musical Theatre, Dance, and a College Prep class. I said YES, and from there, I dove into the world of Arts Education and haven’t looked back since. I began teaching various performance classes, building a tap program for kids and teens, directing and choreographing various productions, and managing the CT High School Musical Theatre Awards (The Sondheim Awards), all the while continuing to coach students through the college audition process.

It was that same friend, Katie Johannigman, who led me to BVC Aspire and my initial meeting with the team! FUN FACT: Chelsea [BVC Co-Founder], Casey [BVC Managing Director], Katie [BVC Aspire Inagural Performance Coach], and I were ALL in the same NYC Ladies Book Club when we were all new to NYC! And years later, here we are! 🧡

Q: What’s one thing that most people don’t know about you?

A: My all-time favorite movie is the original Jurassic Park. Feeling sad? Pop on Jurassic Park. Great day? Pop on Jurassic Park. Not sure what to watch? Pop on Jurassic Park. I love it so much that I walked down the aisle at my wedding to a fantastic arrangement of the Jurassic Park theme song played on keys and saxophone. It is not only a great song, but also provided such a wonderful moment when our guests started laughing as they realized what the song was! 

Theatre Industry & Experience

Q: You’ve performed in some of the biggest national tours and regional theaters in the country. Can you break down what it means to be a Dance Captain on a Broadway First National Tour?

A: Being a Dance Captain on a Broadway First National tour or any long-running show is a big responsibility and an incredible honor. If you’re wondering what a “Dance Captain” does, here’s the rundown: They’re in charge of keeping the choreography in check once the creative team has wrapped up. Here’s what that looks like:

• Build the "Show Bible": Create charts and notes that lay out dance formations, choreography, stage traffic, props, and more.
• Note the Show: Watch performances and take notes on the choreography to make sure everything stays true to the original vision.
• Deliver Notes: After watching the show or if someone brings something to your attention, you are responsible for giving notes to the cast and relaying important information about the choreography.
• Teach the Show: When new cast members join the tour, the Dance Captain(s) teach them all the choreography.
• Lead Rehearsals: Alongside stage management, Dance Captain(s) are in charge of leading Understudy, Spacing, Clean-up, and Safety rehearsals.
• Create Split Tracks: If more cast members are out of the show than you have coverage for, you collaborate with your stage management team to develop a plan to cover their roles and keep the show running smoothly and safely. 

The role of dance captain is a lot to juggle. You need to preserve the production while retaining a positive and effective working relationship with those around you, all while also being in the show yourself! I have learned so much from this job and have found it to be one of the hardest and yet most rewarding roles I have ever had.

Q: What did being on tour teach you?

A: Being on tour has taught me so much, and each of the 3 tours I have been on has taught me something a little different. 

My first tour, La Cage Aux Folles, was the first time I had experienced being in a long-running show, and what touring was like. I learned how to maintain my well-being while on the road and away from my loved ones. It reaffirmed my passion for travel and my love of the “job”.

My second tour, Hello, Dolly, taught me the importance of maintaining my body and balancing consistency in my performance night after night. It also taught me the importance and gift of community. The friends I made on this tour are some of my nearest and dearest. From trying to figure out how to play Bananagrams on Zoom during the pandemic to attending each other's weddings -- that experience was a testament to how special the friendships you make on shows can be. 

Mrs. Doubtfire, my third tour, feels like a culmination of all three experiences. As I already shared, the responsibilities of being dance captain were huge. That role also gave me great insight into how a production comes together night after night on the road! There are so many moving pieces that we, as cast members, don’t always see.

Along with being Dance Captain and in the Ensemble, I also understudied the role of Miranda. Being an understudy is a unique experience. You dive into your understudy track and have to bring yourself to the role all within a framework that has already been built for you. It can also be WILDLY nerve-wracking! Sometimes, you might have a heads-up that you are going on for that role, and other times, it happens unexpectedly and at the last minute. You have to be ready for anything! It has taught me a lot about trusting myself and my preparation! 

Q: You’ve worked with some of the best in the business. How has your experience as a performer influenced the way you coach and guide students through this process??

A: One of the first things I always think about was a lesson I learned (and at this moment, I can’t remember exactly who said this to me), but it has always stuck with me since:

"Take the work seriously, but don’t take yourself too seriously."

I feel that this is so important as a performer and also as a coach. If I can bring a sense of joy and humor to the room and my lessons with students, hold my students to a high standard, and help them grow, it’s a win-win! At the end of the day, musical theatre is all about playing pretend. It has to be rooted in joy for the work to soar off the pages of the script or beyond the notes on the page.

College Audition Process

Q: You’ve spent over a decade guiding students and families through the college audition process. What are the biggest mistakes you see students make—and how can they avoid them?

A: MISTAKE #1: Not having a varied school list!
This is a BIG one. I have seen many students minimize their list and not have options. Much of the admissions process is a numbers game - there are so many talented students, but a limited number of spots. There are wonderful programs outside of what may be considered the “top programs”. And there are many creative ways to create a varied list of schools that will represent not only what you are looking for in a program, but things that you love as a person. 

MISTAKE #2: Getting stuck on what you think the faculty wants to hear or what you “SHOULD” do. Faculty want to see YOU. That’s the secret! 😉 Your unique skill set, talent, and personality. If you start down the path of what you think they want, you will go in circles and never get out of it. Do what shows YOU off best and what YOU love!

MISTAKE #3: Not getting creative with supplemental materials and the interview. This is another moment of - don't get stuck in what you think you "SHOULD" do. Showcase what is unique about YOU. These additional elements and moments are ways for you to showcase things that the faculty may not be able to see from your audition and your resume. Be authentic and think of these elements as another opportunity - and how cool to get another chance to show someone more about you! 

MISTAKE #4: Not starting early! I have worked with students who want to start the process in the late summer / early fall, and while we have made it happen, that timeline always provides more stress and doesn’t allow you to find material that’s the best fit for you, or get things in on the early side.

Q: Parents often worry about their child’s future when they choose to major in musical theatre. What would you say to a parent who is nervous about this path?

A: Theatre kids are some of the most resourceful, hardworking, and approachable kids around. They are taught to approach life and challenges with a can-do attitude. I have seen friends go on to really rich and fruitful careers in the performing arts. I have also seen friends pivot into many different careers - Education, Advertising, Real Estate, Nursing; the list goes on and on. What I have seen time and time again is that our interpersonal skills and ability to “make it work” on a moment's notice open so many doors and make us some of the most valuable people on any team.

Q: What do you think sets Aspire apart from other college audition programs?

A: I think that our program's small size is very special. It allows our students and parents to feel seen and known by our team. It also allows us to make sure each student's material truly reflects them and is not just a piece pulled from a big list of good audition material. It's given to the student because it is good audition material for THEM!

The timeline of our program (from the beginning of June through the end of September) sets our students (and parents) up for success. This is the sweet spot for selecting material so it feels prepared but not overrehearsed. Getting your pre-screens filmed and submitted early definitely has its advantages. Not only can students get their materials submitted early, but they can also take that huge weight off their shoulders and enjoy the fall of their Senior Year! 

And I have to shout out our amazing Aspire team. Every single person on this team is your BIGGEST CHEERLEADER. We will find every way to boost you up and guide you (and your family) through this process with positivity, honesty, and joy.

Q: You’re known for being an expert at choosing the right audition material. What’s the secret to picking a song or monologue that helps a student stand out?

A: On top of the basics: Is it the right song for their voice type? Does it match the criteria per the school? Do the pieces contrast? I love digging into things that students are passionate about or connect to and finding material that will speak to those passions and interests. I LOVE getting creative on how we can find pieces for each student!

That is why I love our initial consults that kick off the start of Aspire! They give us insight into each of our students as people—their personalities, their lived experience, what they love, and what they don’t love. Those elements are key in finding material that they can connect to at a young age. They also help us know what will be enjoyable for them to work on and audition with throughout the entire college audition process!

Q: You’re also famous for your spreadsheets! How does organization play a role in helping students stay on top of the audition process?

A: Organization is key!!! There are so many little details, and you should consider compiling these elements and details as much of a part of your prep process as the coaching of your materials! Starting early with an organizational system will help you assess what you will need and what you will not need throughout the process. You will also be so thankful to have something in place when additional requirements inevitably pop up. 

Two of my biggest guiding philosophies (especially for the college prep process) are: 

1. In a situation where much is going to be out of your control, put as much in your control as possible. 
2. Work smarter, not harder

Starting early with an organizational system will accomplish just that! It will put you in control and help you be strategic so you aren’t more exhausted than you need to be. 

Advice and Inspiration

Q: Looking back at your own journey, what’s one piece of advice you wish someone had given you when you were auditioning for college?

A: Your material is not only a representation of your skills but a reflection of YOU! Connection to your material is key, and if you don’t LOVE it, go back to the drawing board. Also, embrace your uniqueness and don’t get sucked into the spiral of what you think others want you to do.

Q: If you could give one piece of advice to students who are feeling overwhelmed by this process, what would it be?

A: First: Feel the feels! It is OK to feel overwhelmed, and it is important to acknowledge those feelings instead of tossing them to the side and not facing them head-on. That’s why having a team to guide you (whether it’s a college coach or your high school theatre teacher) and open communication with your support system (family, friends, teachers) is so important - so they can help you get out of the overwhelm and stay focused on the path ahead. 

Second: Trust in your PREP and your PROCESS. By preparing early and with great attention to detail, you will be able to put as much as you can in your control! This will allow you to work smarter and not harder, and release the overwhelm of the unknown. 

Q: Lastly, what's your favorite Broadway show?

A: Show that is my ultimate “This is why I love musicals” show is, hands down, 42nd Street. [CHEESY MUSICAL THEATRE NERD WARNING] Why?

A girl from a small(er) town moves to a big city with big dreams. Falls in love with theatre (has a lot of ups and downs) and continues to remind herself that it’s about how every person in a show can come together to “reach out to thousands of people we’ve never seen before”. Yep, it’s magic. Plus TAP DANCING, and the original Gower Champion 42nd Street ballet is one of the best and most iconic pieces of Musical Theatre choreography. (If you haven’t seen it, find it on YouTube; I hope you won’t be disappointed!) 💕

How BVC Aspire Can Help

At Aspire, we’re dedicated to providing a comprehensive, all-inclusive approach to college audition prep. Our live coaching sessions, personalized repertoire selection, and one-on-one support mean that you never have to navigate this process alone.

From the moment you sign up until your child receives their acceptance—and beyond—we’re here to guide you every step of the way.

If you’re feeling overwhelmed or simply want expert advice tailored to your family’s needs, consider joining Aspire. Our unique support system has helped countless families turn audition stress into a confident, streamlined journey.

Ready to lighten your load and to have less stress during college audition season?

📢 Learn more about Aspire and book a free consultation today!

Remember, you’re not alone in this journey. With the right team by your side, even the toughest process becomes manageable—and, dare we say, enjoyable.