Noting that stagefright has been the subject of intensive analysis and subjected to almost every conceivable test or measurement without revealing either its "cause" or its "cure," this paper presents vocal exercises to help combat the performance malady. After listing four principles concerning the nature of stagefright (it is not a pathological defect; even seasoned performers suffer from stagefright on occasion; it may be a learned behavior; and it can be a positive experience), the paper discusses the elements of the ideal performance model, including voice and body use and strategies suitable to the nature of the speaking occasion. It then describes a number of exercises for opening the throat, regulating breathing, modulating and exploiting the voice, and tuning vocal quality to resemble the timbre of musical instruments in conjunction with the mood or tone of the speech. (HTH)