|
|
If you are auditioning for a play, the Director makes the decision regarding casting. Likewise, for the annual Variety Show, a committee decides which acts will be in the show and in which order.
Click one of the links below to go to that section or scroll down to browse.
Upcoming Auditions
Click the underlined name of the show to see a list of characters and specific information regarding audition preparation.
October 2010
And Then There Were None
3 October (Sunday) in the Ocotillo Room at 5:00 pm.
Copies of the script will be available Saturday, September 11 (contact Tom Piemme).
Director: Joy Bingham Strimple
Setting: The action of the play takes place in the living room of a mansion on an island off the coast of Devon, England. It is accessible only by boat.
Plot: As the play opens, eight guests begin arriving at the house for an English weekend “house party.” None of them knows the host, a Mr. Owen. Already in place at the house are the houseman and his wife, the cook. Although previously engaged by Mr. Owen, they have never met him. Once all are present, they learn that the host has been delayed as a storm blows in, preventing any of them from leaving the island.
As cocktails are being served, a voice rings out from the “gramophone,” accusing each of the ten in the room of having been responsible for the death of someone, and that justice is to be carried out. Shortly thereafter, one of the guests suddenly begins choking, and falls dead. Over the next day, one-by-one, the guests are murdered in a manner foretold by an old nursery rhyme.* Upon investigation, there seems to be no one else on the island. One of the guests would appear to be the murderer. Who? Why? Will anyone survive?
Characters: 8 men, three women
Rogers: The highly experienced houseman/butler who has a shady past.
Mrs. Rogers: The cook, and wife of the butler, who seems quite terrified.
Vera Claythorne: An efficient former governess, now a secretary, hired by Mr. Owen for the occasion to play hostess.
Philip Lombard: Dashing former military officer who resigned after a native squadron died under his command.
Anthony Marston: Playboy socialite who loves fast cars and women.
William Blore: Undercover policeman, known for always apprehending the criminal.
General Mackenzie: Proud commander, scarred by the memory of an unfaithful wife.
Emily Brent: Wealthy spinster of uncompromising rectitude and piety.
Sir Lawrence Wargrave: Retired high court judge known to favor the prosecution with harsh sentences.
Dr. Armstrong: Recovering alcoholic who changed specialty after a clinical accident.
Fred Narracott: Boatman who brings guests and supplies to the island. (Very brief role at the beginning of the play.)
A read-through will be held on Thursday, October 7. Rehearsals will begin October 25, and run Monday through Thursday evenings (except Thanksgiving) until performances, December 2-5. In order to provide enough rehearsal time, it will be necessary to hold sessions on two Fridays and, possibly two Sunday evenings. A complete rehearsal schedule will be provided at the Auditions.
Ten little soldier boys went out to dine;
One choked his little self, and then there were nine,
Nine little soldier boys sat up very late;
One overslept himself, and then there were eight,
Eight little soldier boys travelling in Devon;
One said he’d stay there, and then there were seven,
Seven little soldier boys chopping up sticks;
One chopped himself in half, and then there were six,
Six little soldier boys playing with a hive;
A bumblebee stung one, and then there were five;
Five little soldier boys going in for law;
One got in Chancery, and then there were four;
Four little soldier boys going out to sea;
A red herring swallowed one, and then there were three,
Three little soldier boys walking in the zoo;
A big bear hugged one, and then there were two,
Two little soldier boys sitting in the sun;
One got frizzled up, and then there was one;
One little soldier boy left all alone;
He went and hanged himself, and then there were none.
Annie Get Your Gun
10 October (Sunday) from 5 to 6:30 pm, Stage: Ensemble Dancers
10 October (Sunday) from 6:30 to 8 pm, Stage: Ensemble Singers
17 October (Sunday) at 5 pm, Stage: Principals
31 October (Sunday) at 5 pm, Stage: Callback for Principals
Arrive on time. Each person will have a picture taken and will fill out an audition form.
Annie Oakley Mezzo (belt)
An amazing sharpshooter in the Wild West show. Outgoing, lots of energy, a country girl. She immediately falls head over heels for Frank, who prefers a more dainty type of woman.
Frank Butler Baritone
The Wild West show's star. Handsome, suave leading man, love interest of Annie. He enjoys his status as a heartbreaker and star of the show and would like to keep it that way.
Colonel William F. Cody (Buffalo Bill) Baritone
Owner of the Wild West show. Tall, charismatic, middle-aged soldier/Indian scout turned showman. His show features sharpshooters Annie Oakley and Frank Butler and plenty of cowboys, cowgirls and Indians.
Tommy Keeler Tenor/High Baritone
Dashing young knife-thrower in the Wild West show; Winnie's love interest; part Native American. Two duets with Winnie.
Winnie Tate Soprano/Mezzo
Dolly's younger sister; Tommy's girlfriend and his assistant in the knife-throwing act. Sweet, wholesome, pretty. Two duets with Tommy.
Chief Sitting Bull Baritone
Sioux warrior; Annie's protector, but used by Pawnee Bill's competing show. Dialect, big stature, strong willed. Lleader of the Sioux Nation, adopts Annie as his daughter and puts his money into the Wild West Show in order to be near her. Has keen insight into human nature, which he shares through many one-liners.
Pawnee Bill Baritone
Owner of a competing western show. Former partner and current rival of Buffalo Bill.
Charlie Davenport Tenor
Middle-aged manager of the Buffalo Bill’s Wild West show. Outgoing, shrewd, deal maker. Always setting the scene for this show-within-a-show.
Foster Wilson Baritone
Hotel manager and wheeler dealer.
Dolly Tate Alto
Frank Butler's "lovely" assistant; Winnie's sister. A little over-the-hill showgirl type; a bigoted, ambitious and mean-spirited woman whose principal role is to make everyone else miserable, but she does this in a very funny way.
Ensemble
Cowboys, Indians, Roustabouts, Cowgirls, Royals of Europe, New York Socialites. All voice types needed.
November 2010
2011 Variety Show: "That's Entertainment!"
3 November (Wednesday) from 6 to 9 pm on the Stage
(must arrange an audition time in advance)
4 November (Thursday) from 6 to 9 pm on the Stage
(must arrange an audition time in advance)
We are looking for
all kinds of talent for this show. There is no specific theme, so all acts are welcome to audition. Times must be arranged in advance (in blocks of 15 minutes). More information regarding signing up for an audition time will be available closer to the actual audition date.
- Make sure your act is not too long — usually about 3 minutes is fine (some exceptions may run longer).
- If you are singing a song, see if you can combine movement with it to make it more interesting.
- Practice so you are as polished as you can be by audition time.
- Come early – at least 15 minutes before your scheduled audition time to fill out a form and gather yourself together before going into the auditorium.
- If you will be wearing a costume and you have it, wear it to the audition. If you don't have it yet, bring a description or picture of what it will look like and show that to the Directors.
- If your act requires props and you have them, bring any them with you. If not, be prepared to describe what your act will require.
- Take a deep breath. Relax. Enjoy yourself.
You Can't Take It With You
Sunday, November 7, at 5:00 pm in the Ocotillo Room
Copies of the script will be available in late September.
Director: Fred Bornhoeft
Setting: Martin (Grandpa) Vanderhoff’s townhouse on the upper West Side of Manhattan near Columbia University. The living room is cluttered beyond belief with the tools of the hobbies of the members of the household: a printing press, a xylophone, a card table with a typewriter and piles of paper, a dartboard, a tank holding snakes, etc. It is 1936, the middle of the Great Depression.
Plot: The Vanderhoff–Sycamore household is a large extended family (and friends with benefits), none of whom have any visible means of support, except for Grandpa’s rental property. People seem to enter the household, and then simply never leave. Every member of this menagerie has one or more exotic hobbies. They have “getting along pretty good for a while now,” when Alice, the youngest daughter, falls in love with, and plans to marry, her boss’s son. His is a very wealthy family, busily engaged Wall Street finance. She has invited her boyfriend and his parents for dinner. When they arrive on the wrong night, everyone is caught off-guard. While making the best of it, things suddenly go very wrong. The internal revenue service has been investigating Grandpa for non-payment of his income taxes: Federal agents have been trailing the older daughter’s husband for printing subversive literature inspired by Trotsky; neighbors have reported annoying sounds caused by Paul Sycamore’s manufacture of fireworks in the basement. The police arrive during dinner, and are questioning everyone, when there is a sudden explosion from downstairs. Everyone in the house is arrested, spending the night in Jail.
The next day, the Wall Street tycoon arrives to see to it that his son’s engagement is broken off. Alice is mortified and intends to leave the family. Grandpa, who hasn’t spent a day working in thirty-five years, scoffs at the pursuit of money at the cost of anxiety, and stomach ulcers. He manages, with the assistance of the boyfriend to persuade the irate father that there is more to life than money and social standing. After all, you can’t take it with you.
Characters:
Grandpa: The patriarch of the family spends his time collecting stamps, catching snakes, playing darts, reading, and going to college graduations. He owns rental property on which he doesn’t bother to pay taxes. Used to be in business until he looked at himself in the mirror one day, said to hell with it, and quit. Best described as laid-back.
Penelope Sycamore: Grandpa’s daughter, married to Paul, mother of two girls. Used to paint historical portraits until she bought a second-hand typewriter, and began to write plays. The paintings weren’t very good, and neither are the plays.
Paul Sycamore: Manufactures fireworks which he sells for the Fourth of July. Always trying to improve them for better sparkle, and bigger bang. He manages to succeed beyond his wildest imagination. Also builds large model boats.
Essie: Older of the Sycamore daughters, she has two hobbies. She has been taking ballet lessons for seven years. Practices with her teacher several times a week in the townhouse. Between lessons she dances rather than walks everywhere she goes. In her spare time she makes candy, which her husband, Ed, peddles on the street.
Ed: Essie’s husband who owns a printing press on which he prints provocative political messages, which he includes in the boxes of Essie’s candy. Meanwhile, he also plays the xylophone to accompany Essie’s ballet lessons, and to entertain the family.
Alice: The youngest Sycamore daughter, and the only one in the household who seems to be gainfully employed. She has fallen in love with the boss’s son, spending all of her time with him, and hoping to marry him. She invites her boyfriend and his parents home for dinner.
Rheba: The family maid and cook.
Mr. DePinna: Came to deliver ice to the house one day, and has stayed for eight years, helping Paul make fireworks, and posing for Penelope’s paintings.
Donald: Rheba’s boyfriend who is on welfare, and runs errands for the family.
Boris Kolenkhof: Burly Russian immigrant who is Essie’s ballet teacher. Really just hangs around for the food. Is fully aware that Essie is not, and will never be a dancer. Seems to know all of the immigrants who escaped the Russian Revolution.
Gay Wellington: An actress whom Penelope met on a bus. She has come to read one of Penelope’s plays, but has a little too much to drink, and passes out on the couch just as the dinner guests are about to arrive.
Tony Kirby: The boyfriend. Just out of college. After studying in London for a while, has gone to work for his father, but is beginning to think Wall Street isn’t his thing.
Mr. Kirby: Tony’s father. A dyspeptic blowhard businessman. Despises government regulations. Looking forward to bonuses. Used to dominating everyone in the room. Has his own hobby: raising $1000 orchids in the middle of the Depression. Grandpa has his number.
Mrs. Kirby: Totally subservient to her overpowering husband, and quietly resents it. Finds her own way to humiliate him.
Olga: Friend of Kolenkhov. Formerly a Princess of the Russian Royal family, now working as a waitress. Has come to eat, but winds up making blintzes.
Mr. Henderson: I.R.S. agent totally confused and bewildered by Grandpa’s refusal to pay taxes.
Three policemen.
Some of these roles are brief character studies. (Wellington, Henderson, Olga, Mrs. Kirby.) The policemen are essentially walk-ons. The rest are in and out throughout the play; some longer than others, of course.
A read-through will be held sometime during the week following auditions and casting. Rehearsals will begin December 6 and continue Monday through Thursday until performances, January 20-23. A complete rehearsal schedule will be provided at the auditions.
Preparing for an Audition for a Play
- Get a copy of the script and read it as many times as you can. Bring it with you to the audition.
- Decide which characters you feel are best suited to you (in case you are asked).
- Bring a copy of your acting resumé (if any).
- Each director handles auditions differently. Be flexible. Be early. Be prepared.
- Dress nicely. Don't wear a hat unless the specific role calls for it. Make sure your hair is away from your face so the Director can see you.
- Take an acting class. A teacher or coach can help you hone your skills by showing you which areas you need to work on, how to develop attributes that will help you get roles, and be better prepared to work well on stage.
- Practice in front of a mirror or videotape your "performance." Make sure you don't have any nervous habits (or concentrate on ridding yourself of them, if you do). Keep practicing until your facial expressions really look the way you want them to without thinking about it.
- If you're new to the stage, become an "extra" or start with smaller roles. The experience that you'll gain will be valuable in many ways. You will learn much about the entire process and can bring more to every role in the future.
- Get to know the character (or characters) you might want to audition. What is her relationship to the other characters? What is his background? Ask yourself as many questions as you can about your character and the play in general. The more you know, the more you can bring to the audition.
- Dress comfortably. Avoid costumes, but don't dress completely out of character either.
During an Audition for a Play
- Turn off your cell phone before entering the room.
- Your audition begins the moment you step into the room. Be confident. Hold your head high, and make eye contact with the Director and others in the room before it is your turn to read.
- Most likely, you will be with a group of other people who are also auditioning. You will read scenes together, standing up in front of the room.
- If you've read the script a few times, you'll be comfortable with the material and can read it clearly and with the emphasis you desire.
- Be natural in whatever role you're reading. Don't overact.
- Keep your script down (not up in front of your face) so that the Director and others in the room can see you.
- Project! Just because you're not on stage and in a smaller room doesn't mean you don't have to project. Don't yell—simply demonstrate the fact that your voice can carry to the back of the room.
- Take a deep breath. Relax. Enjoy yourself.
- Be respectful of others who are there with you. Be quiet when they are reading, and don't make comments about their performance.
Preparing an Act for the Variety Show
- Learn the theme of the Variety Show and choose your song or develop your act so that it fits in with this theme.
- Make sure your act is not too long — usually about 3 minutes is fine, with some exceptions running longer.
- If you are singing a song, see if you can combine movement with it to make it more interesting.
- Practice, practice, practice. Be as polished as you can be by audition time.
During a Variety Show Audition
- You will be given a time for your audition (typically a 15-minute slot). Come early. You will need enough time to fill out some forms and to gather yourself together before going into the auditorium.
- If you will be wearing a costume, and you have it, wear it to the audition. If you don't have it yet, bring a description or picture of what it will look like and show that to the Directors.
- Bring any props that you will need with you if you have them. If not, be prepared to describe what your act will require.
- Take a deep breath. Relax. Enjoy yourself.
|
|
