The Kelsey Theatre invites you to . . .
OPEN AUDITIONS - Anyone can audition, you do not have to be a student at MCCC. NOTE: Auditions will be held on the Mercer County Community College Campus unless otherwise stated. Check the Kelsey Theatre for room location signs. All performances will be held at Kelsey Theatre, located on the West Windsor Campus of Mercer County Community College 1200 Old Trenton Rd, West Windsor, NJ 08550 .
KELSEY THEATRE AUDITION HOTLINE - (609) 570-3582
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SAVE THE DATE: SHREK auditions are in January!
Music by Claude-Michel Schönberg, original French lyrics by Alain Boublil and Jean-Marc Natel, English language libretto by Herbert Kretzmer.
Produced by Playful Theatre Productions (producer Suzanne Smith)
Direction by Frank Ferrara
Musical Direction by Shannon Ferrara
Choreography by Nicole Farina-Machin
PLEASE NOTE: Due to high demand for audition appointments, Playful Theatre Productions has added a fourth evening of initial auditions on Monday, November 11 (7:00PM – 10:00PM). Appointment times are open throughout the evening of the 11th; limited appointment times are still available for the evenings of November 18, 19, and 20. Interested actors are encouraged to make an audition appointment via e-mail at firstname.lastname@example.org.
About the Audition
Preliminary auditions will be held on November 11, 18, 19, and 20 (7:00PM – 10:00PM all nights); callbacks, as required, are tentatively scheduled for November 23 and/or 24. Auditions and callbacks will be held in the Communications (CM) building adjacent to Kelsey Theatre; for maps and directions, please visit www.kelseyatmccc.org.
In order to minimize wait times, audition appointments are very strongly recommended; please call 609-378-5515 or e-mail email@example.com to make an appointment.
one complete song from musical theatre
bring sheet music in the correct key; an accompanist will be provided
No dancing will be required at the initial audition
All roles are open. A summary of available roles is provided below.
Rehearsals are expected to begin in early December, and run 3-4 times per week until the show’s opening at the end of March.
About the Roles
We are seeking a total of approximately 33 actors – 16 male adults (age 16 and up), 14 female adults (age 16 and up), and three child actors (1 male, 2 female age 7-12). Principal roles are described below (all ages given are for the character in question). All roles (including all ensemble roles) require strong solo singing ability and vocal stamina.
Jean Valjean (male, tenor, ages from late thirties to mid-60s): The protagonist of our story, a powerfully built but fundamentally gentle former convict. Need an exceptional singer with extended range (to a high C) and comfortable falsetto.
Police Inspector Javert (male, bass-baritone, ages from late thirties to mid-60s): Disciplined and driven police inspector defined by the prey he hunts, and by the Old Testament idea of justice that underlies that hunt. Though tightly controlled, Javert is not a robot, a martinet, nor lacking in cleverness or intelligence. Need a powerful singer with rich, full sound (high range to a G).
Thenardier (male, baritone, ages from early thirties to early fifties): An innkeeper, con artist, thief, and petty grifter; he rises above some of his peers through a combination of surprising charisma and just enough cleverness to survive. Thenardier is amoral – certainly closer to actual evil than any of the other characters in the play – and if it were not for his basic lack of ambition, he’d be truly dangerous.
Marius Pontmercy (male, baritone, mid-20s): A young and idealistic student, given to wild displays of emotion. More of a second-in-command than a leader. Music covers an extremely wide range and must be very well sung.
Enjolras (male, tenor, mid-20s): A student, and Marius’ friend. Enjolras is a natural leader, and must be powerfully charismatic. He is also optimistic and extremely intelligent, albeit reckless.
Fantine (female, mezzo-soprano, late 20s): An ordinary factory girl, driven by bad fortune and worse circumstances to utter desperation. Needs mezzo-soprano range with a very strong medium-to-high belt.
Cosette (female, soprano, early 20s): A young woman who has been raised under tight supervision and with great care; as a result she is confident, secure, well-mannered, and perhaps just the tiniest bit stir-crazy.
Eponine (female, belter, 18-25): A street girl, Thenardier’s daughter; she is experienced, clever, and competent, outwardly cynical but secretly hopeful. Must be an excellent singer with a high belt and comfortable low range.
Madame Thenardier (female, alto or mezzo-soprano, ages from early thirties to early fifties): Thenardier’s wife, and his perfect match; she is more clever than her husband, though perhaps not quite so charming. Extremely forceful, memorable, and unsettling personality.
Gavroche (male, age 9-10): A young boy, without apparent home or family, who more or less runs the streets of Paris in his own way. Resourceful, precocious, aggressive, and impulsive. Need a strong, unchanged male voice.
Young Cosette (female, age 9-10): A young girl, completely lost and vulnerable. Need a light “little girl” voice with no belt.
Ensemble: Includes, among other characters, the Bishop of Digne, constables, student revolutionaries, soldiers, peasants, factory workers, convicts, laborers, prostitutes, aristocrats, and criminals. All roles require extensive solo singing, and actors of all ages and types are needed.
March 28-30, April 4-6, and 11-13
Friday and Saturday night performances at 8:00PM; Sunday afternoon performances at 2:00PM
Kelsey Theatre, on campus at Mercer County Community College (West Windsor, NJ)
by Terence McNally
Company: Pennington Players
Producer: Sally Page
Director: Judi Parrish
Stage Manager: Tara Gruber-Etter
Accompanist: Andrew Monath
Lighting: Kitty Getlik
Set/Sound Design: Judi Parrish
The Pennington Players are pleased to announce open auditions for a February/March 2014 production of Terence McNally’s Master Class. The show will be performed at Kelsey Theatre, on the campus at Mercer County Community College (West Windsor, NJ). Performance dates are: February 21, 22, 23, and February 28, March 1, 2, 2014 (Friday and Saturday night performances at 8:00PM; Sunday afternoon performances at 2:00PM).
Wednesday, November 20, 2013 7 PM to 9:30 PM
Saturday, November 23, 2013 11AM to 3 PM
Callbacks (as needed: by invitation only) Monday, November 25, 2013 7 PM to 9 PM
AUDITION APPOINTMENT OPTIONS:
E-mail us at firstname.lastname@example.org
Audition forms and information are available on the Pennington Players’ website: www.penningtonplayers.org
Appointments are strongly encouraged. Walk-ins will be seen on a time-available basis.
Auditions and callbacks will be held in the Communications (CM) building adjacent to Kelsey Theatre; for maps and directions, please visit www.kelseyatmccc.org
ABOUT THE PLAY: Maria Callas is teaching a master class in front of an audience. She's glamorous, commanding, larger than life—and drop-dead funny. An accompanist sits at the piano. The play is based on master classes that Callas taught at the Juilliard School. Over two 6-week periods in 1971-72, Maria Callas taught a master class "The Lyric Tradition" for young, beginning professional singers at the Juilliard School. Included in this course was a series of semiweekly 2-hour public working sessions with the variety of voices and repertoires in the class, intended to pass on her knowledge and experience to the students collectively, as well as to the public at large. When she died in 1977, she was 54.
The following roles are open:
Maria Callas (f –mid 50’s) non-singing role with extensive monologues. This is a tour-de-force for the actress playing the role; she is on stage the entire time. Those auditioning for Callas must prepare the 2 monologues provided and they must be fully memorized. Those auditioning may also be asked to do a reading from the script.
NOTE: Those auditioning for any of the following roles, must prepare the aria cited for the role. It is suggested that sopranos prepare both arias cited, but it is not required. An accompanist will be provided. No a cappella singing or recorded accompaniment will be allowed. You may be asked to do a cold reading from the script.
Sophie De Palma (f –mid 20’s) operatic soprano with dialogue; sings: “Ah non credea mirarti” from Bellini’s La Sonnambula
Sharon Graham (f –mid 20’s) operatic soprano with dialogue; sings: “Vieni t’affretta” from Verdi’s Macbeth
Anthony Candolino (m –mid/late 20’s) operatic tenor with dialogue; sings: “Recondita armonia” from Puccini’s Tosca
First read thru will be either November 30, 2013, or December 2, 2013. Rehearsals with the actress cast as Maria Callas will begin in December. Most rehearsals will be Monday and Wednesday evenings, and Saturday afternoons until a few weeks prior to opening night. Additionally, the majority of early rehearsals will be with “Maria Callas” only, due to the significant amount of monologues and stage time. Rehearsals with the accompanist and the 3 singers and dialogue rehearsals with the singers will begin in January. Once the ground work for all the roles has been laid, we will start putting the various pieces together. There will be very little need to have everyone at all the rehearsals until a few weeks before the show opens. The only 2 people with significant stage time are Maria and the accompanist.
MONOLOGUES: Maria Callas
Those auditioning for Callas must prepare the 2 monologues provided and they must be fully memorized. These monologues are representative of the extent of memorization needed by the actress playing Maria. It is not an exaggeration to state that out of a 43 page script there are at least 20 pages that an ONLY Maria Callas! The rest of the time she is in dialogue with the other characters.
No folderol. This is a master class. Singing is serious business. We're going to roll up our sleeves and work. I appreciate your welcome but enough is enough. Basta. Fini. Eh? So. How is everyone? Can you hear me? I don't believe in microphones. Singing is first of all about projection. So is speech. People are forgetting how to listen. They want everything blasted at them. Listening takes concentration. If you can't hear me, it's your fault. You're not concentrating. I don't get any louder than this. So come down closer or leave. No takers? What? You're all scared of me? Eh? Is that it? I don't bite. I promise you. I bark, I bark quite a bit actually, but I don't bite. I don't know what you're expecting. What did they tell you? I hope you're not expecting me to sing. Well, we shall see what we shall see. Allom, so, let's begin.
Where is the first student? Who is the first student? Are they here? When I was a student, I never missed a lesson. Never. Not once. I was never late for one either, In fact, I was usually early. I never wanted to leave the conservatory. I lived, ate and slept music. Music is a discipline. Too many of you are looking for the easy way out. Short cuts. No. If you want to have a career, as I did, and I'm not boasting now, I am not one to boast, you must be willing to subjugate yourself ... is that a word? ... subjugate yourself to the music. Always the music. You are its servant. You are here to serve the composer. The composer is God. In Athens, and this was during the war, I often went to bed hungry but I walked to the conservatory and back every day, six days a week, and sometimes my feet were bleeding because I had no proper shoes. I don't tell you this to melodramatize. Oh no. I tell you to show you who I am. Discipline. Courage. Here. Right here. From the guts. These lights. Who is in charge of these lights? Is someone in charge of these lights? May we have the lights in the auditorium off, please? This is really terrible. We can't work under these conditions. I'm not going to ask a student to come out here until these lights are taken care of. This is what I was talking about. Attention must be paid to every detail. The lights. Your wig. The amount of stage dust. A career in the theatre demands total concentration. 100% detail. You think I'm joking? I'm not joking. You wait, you'll see. If you're ever so lucky to sing in one of the great theatres. I mean La Scala. I mean Covent Garden. I mean L'Opera. I mean Vienna. I mean the Metropolitan. You think it's easy? A great career? Hah! That's all I have to say to you. Hah! Is this my chair? I don't see a cushion. I asked for a cushion. Thank you.
I want to hear you. A straight line. From you through me to Pasta.
All right. Let's hear it again. With a broken heart this time.
I hate to say it but you should wear longer skirts or slacks. During daytime it's all right. But you must remember, I'm sorry I'm bringing this up, but the public that looks at you from down there sees a little more of you than you might want. Eh? It's no use now. You should have thought of it before. Forgive me, eh? No laughing. This is a serious matter. Maestro. (Accompanist begins to play again.)
I want you to imagine you are Amina. This is opera, Sophie. You're alone on a great stage. Make us feel what you
feel. Show us that truth. (First Soprano begins the recitative again as lights fade on her and Accompanist and come up strong on Maria who is hearing her performance of the same music. So are we.)
How quickly it all comes back. The great nights. (She listens.)
Ma, Luchino, perche? Why do you have me wearing jewels? I am supposed to be a poor Swiss village girl. "You are not a village girl. You are Maria Callas playing a village girl." Ah, capisco, capisco! I understood. (She listens.)
This was the terrifying moment. The beginning. In the utter, utter silence, my voice filling the void of that vast, darkened auditorium. I felt so alone, so unprotected. Coraggio. It's begun. (She listens.)
What were they expecting? (She listens.)
Ari always said, They're not coming to hear you, no one comes to hear Callas anymore. They've come to look at you. You're not a singer. You're a freak. I'm a freak. We're both freaks. They've come to see us. You're a monstre sacree now. We are both monstres sacrees. And we are fucking.
I don't like that word, Ari.
Fuck you, you don't like that word.
This phrase. Lovely. And I did it well.
Did you hear what I said? Before you were just a singer. A canary who sang for her supper. A fat, ugly canary. And now you are a beautiful woman who fucks Aristotle Onassis.
This is how I talk. This is how I have always talked. This is who I am. I'm coarse. I'm crude. I'm vulgar. Unlike some people, I remember from whence I came.
I remember. I remember too well.
They listen to you sing this boring shit music and clap and yell Brava! Brava La Divina! but what they all want to know is what we do in bed. The two Greeks. The two sweaty, piggy, beneath-them Greeks. The richest-man-in-the-world Greek and the most-famous-singer-in-the-world Greek. Together we rule the world. I have people by the balls and I squeeze. I squeeze very hard and without pity. I have you by the balls, Cecilia Sophia Anna Maria Kalogeropoulou. Everyone is for sale and I bought you.
This part. "She sang Amina's great lament in a voice suffused with tears."
You give me class. I give you my big thick uncircumcised Greek dick and you give me class. I give you my wealth and you give me respect where I never had any. I give you safety from your terror of the theatre, you don't have to go there anymore. I give you everything you want and need but love. I'm lucky. I don't need love. I have class now. ("He" laughs.)
Everyone needs love, Ari. I'm proud. I'm very proud but when it comes to this, to love, to you, to us, I am not.
I don't give love to anyone but my children. Have a child of mine and I will love him. Yes?
Hey, canary, chin up. Look at me. You don't need love either. You have theirs. The snobs and the fags. They adore you. The snobs all want to take you to dinner at Lutece and the fags all want to be you. Frankly, I'm not threatened. You hate it when I call you canary, don't you? It's affectionate. Can't you hear the affection in canary?
I was good tonight. I was very good.
Why don't you give all this up. It's caca, skata anyway. Eh? You know it, I know it. You live on the boat. You can go anywhere you want, stay as long as you want, buy anything you want, within reason. Always within reason. I hate a woman who tries to bleed a man dry. Of course she would have to be some woman to bleed this mother-fucker dry. Do you know how much I'm worth? Do you have any idea of just how much money I have? I breathe money, I sweat money, I shit money.
I don't have to sing anymore? I won't if you don't want me.
Okay, so you don't sing anymore. You don't retire, you stop. There's a difference. Retiring is depressing. Stopping is class. They beg you. You're adamant. No means no, you tell them. I bet you didn't know I had that word in me, did you? Adamant. It means unshakable or immovable, especially in opposition. Hard. Like diamonds. That's us, baby.
That's us, Ari. A matched pair.
But when I want you to sing, you sing. You sing only for me. I have you under the most fucking exclusive contract anybody ever had. And when I ask you to sing, you know what you're going to sing for me, baby? None of that opera skata. That song I taught you about the whore from Piraeus who took it five different ways at the same time. I had to tell you what four of those ways were.
I don't like that song, Ari.
Where have you been all your life, canary? Don't they fuck in the opera house?
I don't like that song.
Sing it anyway.