Interview: Chase Del Rey of ACTING FOR MUSICAL THEATRE WORKSHOP

Broadway performer Chase Del Rey has built his career through years of work both onstage and behind the scenes in rehearsal rooms. Chase originated the role of Lon in the Broadway cast of The Notebook. His performances are rooted in honesty, focus, and emotional connection.

Those same values carry into his work offstage, where he teaches Acting for Musical Theatre audition workshops and offers one-on-one coaching, guiding performers as they prepare to step into audition rooms with confidence.

We spoke with Chase about his path to Broadway, what he’s learned from performing in The Notebook, and the insight he shares with actors navigating the audition process.

As a Carnegie Mellon Musical Theatre alum who’s seen the audition process from the inside, what do students most often get wrong in college auditions?

One thing I see a lot is students putting all their focus on the singing and not enough on the acting. Plenty of people have strong voices, but they’re not always telling the story from moment to moment. An audition isn’t just about singing well—it’s about understanding the material and making clear choices. You have to know who you are and let that show when you walk into the room.

You talk a lot about helping performers understand their “brand.” How do you help students figure out what makes them stand out?

I want students to focus on what actually makes them stand out. Auditions move so quickly that you don’t have much time to make an impression, so everything needs to line up—your song choice, your personality, your overall vibe. I love helping people find material that feels natural to them, not something they think they should be doing. The goal is to walk into the room with a package that feels specific and genuinely true to who you are.  

This class is especially popular with students preparing for Unified auditions. What makes it useful at this stage of the process?

Auditions are a completely different experience than rehearsing at home, and a lot of students aren’t prepared for that shift. This class gives them a chance to practice in a setting that feels real but still supportive. We do trial runs, work through nerves, and figure out what actually works in the room. That way, when Unifieds come around, it doesn’t feel so unfamiliar or overwhelming.

How does being a working Broadway actor shape the way you coach audition material?

Everything I teach comes from real experience. College auditions aren’t all that different from professional ones—you’re still trying to show who you are in a short amount of time. I focus on helping students understand their type, make strong choices, and show schools where they can grow in the future.

In a sea of thousands of auditionees, I help tailor each audition package to be as specific, authentic, and compelling as possible. While vocal coaches handle singing and vocal technique, I take care of everything else on the acting and performance side—which is truly my niche.

Who is this class for — are students expected to be at a certain level before signing up?

It’s really for anyone who wants to improve. I work with high school seniors getting ready for Unifieds, current college students looking for extra training, and performers who want to strengthen their acting-through-song or musical theatre acting skills. You don’t have to be at a specific level—you just have to be willing to put in the work and take it seriously.

For families feeling overwhelmed by BFA auditions, what’s one piece of advice you always come back to?

Work smarter, not harder. I see a lot of performers pouring energy into things that don’t actually serve their auditions. Start earlier than you think you need to, make it a priority, and really know your material. When you’re that prepared, auditions feel far less stressful—and you’re able to adjust in the moment when a school or casting team gives you a wild note on the fly.

Favorite musicals?

Hamilton, Pippin, Sunday in the Park with George, Grease, Evita, Sunset Boulevard

Favorite musical songs?

“Sunset Boulevard,” “Dancing Through Life,” “Finishing the Hat,” “You’ve Got Trouble,” “Yorktown,” “You and Me (But Mostly Me),” and “Without Love”

Dream roles?

Bobby (Company), George (Sunday in the Park with George), Fiyero (Wicked), Philip Hamilton (Hamilton), Che (Evita), Danny (Grease), and Usnavi (In the Heights), Freedy (Chess)

Have you ever visited Minnesota?

Only on a layover—but I’m hoping to actually visit someday.

Thank you Chase for your time! 

For more information, please contact and follow Chase directly @chasedelrey