Things to Keep in Mind when Auditioning

Here is a  list of do’s and don’ts which should help you to make your audition pieces, or those of the students you coach, as strong as they can be.
An amateur  rehearses until it’s done right; a professional rehearses until it can’t be done wrong.  Strive for “professional.”

THINGS TO AVOID

1.    Inappropriate Material

• Material that is too emotional
• Climatic moments taken out of context
• Material that relies on screaming, yelling, etc.
• Material that uses offensive language including racially insentive words    or epithets
• Material that is not age appropriate (it is hard to watch a 17 year old Willy Lohman)

2.    Inappropriate Appearance

• Shorts, ripped jeans, sloppy, ill fitting, or provocative clothing
• Anything above a “moderate heel”
• Hair in the face, tongue piercings

THINGS TO REHEARSE

1.     Beginnings and Endings

• The piece begins with the name, which should be confidently and clearly spoken.
• The piece ends with your name , which should be confidently  and clearly spoken.

2. Timing

There is no reason why you should go over your time limit.  Cut and    rehearse your piece so that you have several extra seconds in case things expand in performance.

3 . Diction/Volume/Projection

4. Focus

• To whom are you speaking?
• Who, What, and Where are they in relation to you?

5. Transitions

• Rehearse the whole audition as a “package”, not two separate pieces.

THINGS TO REMEMBER

• Cut your monologues so there is a clear indication of beginning, middle, and end.
• Monologues in which your character has a real objective or need are preferable to those that are just meant to be funny.
• The songs should have clear intentions, just as a monologue does.
• There is no substitute for working with a director or teacher.

Gem of the Ocean

by August Wilson
Directed by Barbara Colaciello Williams

Audition Date: Sunday, August 29th at 4:00pm.
Show Dates: November 5 -20, 2010

If you have any questions please e-mail the director, Barbara Colaciello, at: barbara@playersbytheseaorg.

Audition Requirements:

A two minute monologue preferably one that has a strong emotional state and action. You may be asked to improvise and read from the script. Interested in actors with a strong command of poetic language.

Scripts are available for perusal. $20.00 deposit required.

Synopsis:

1904, Pittsburgh: 1839 Wylie Street in the Hill District is the home of Aunt Ester, a 285-year-old former slave, who is a keeper of tradition and history for her people and a renowned cleanser of souls. The people who pass through her parlor and kitchen include Eli, Aunt Ester’s protector; Black Mary, her housekeeper and protegé; Solly Two Kings, a former slave, conductor on the Underground Railroad and scout for the Union Army; Black Mary’s brother, Caesar, a constable; Rutherford Selig, a white peddler; and Citizen Barlow, a new arrival from down South who needs Aunt Ester to help him absolve the guilt and shame from a crime he’s committed.

Characters

Aunt Ester Tyler - A former slave and a “soul-cleanser”, who is the head of 1839 Wylie Avenue. She claims to be 285 years old and acts as the benevolent, if disciplinarian, ruler of the household. She entertains the romantic ambitions of Solly. She is a recurring character in several of Wilson’s plays of the Pittsburgh Cycle.

Citizen Barlow – A young man from Alabama who comes to the house in search of purpose, prosperity, and redemption and to be cleansed by Aunt Ester. He is enlisted to help construct a wall, and eventually journeys to The City of Bones. Late twenties/early thirties.

Solly Two Kings – Suitor of Aunt Ester. He is a former slave from Alabama and former Underground railroad Conductor.  He makes a career of gathering up dog excrement, which he calls “pure”, for manure. He carries a large walking stick. His real name is Alfred Jackson, but he calls himself “Two Kings” (referring to King David and King Solomon), and is nicknamed Solly. Sixty-seven.

“Black” Mary Wilkes -Ester’s housekeeper/protector and her protege in the art of Soul Cleansing. She performs most of the household tasks, but never to the satisfaction of Ester. Late twenties.

Caesar Wilkes – Black Mary’s brother, a policeman, baker and land-owner. He upholds the law at all costs. He practices strict capitalism and has no qualms with killing a man over a petty crime. About fifty-two.

Eli – Aunt Ester’s caregiver, he protects the inhabitants and is constructing a wall. He was Solly’s comrade in his efforts on the Underground Railroad and for The Union Army.

Rutherford Selig – A white peddler and friend of Ester’s who frequently visits the house. He sells pots, pans and other crockery. Resourceful and robust.

Music by Thomas “Fats” Waller
Conceived by Murray Horwitz and Richard Maltby,Jr.

Directed and Choreographed  by Lee Hamby and  Miranda Lawson
Musical Direction by  Laura Peden

AUDITIONS

SEPTEMBER 19th 2010 at 6:00pm

106 North Sixth Street
Jacksonville Beach, Fl 32250
904-249-0289

Please prepare 32 bars of a blues, jazz, standard musical theatre song in the appropriate style  and key.

Show Dates:December 31 & January 7 – 22, 2011

Casting  : 2 Men &  3 Women

Character Breakdown:

ANDRE - An unrepentant party hound.
ARMELIA – Voluptuous and a trifle oversexed.
CHARLAINE - Sweet, Young and Innocent.
KEN- Jovial, Loud, Larger than life – like fats  himself.
NELL Confident, Charming and worldly.

AUDITIONS

Sunday, Sept. 19 at 4:00 PM

THE HOUSE OF

BERNARDA ALBA

By Federico Garcia Lorca
Directed by Holly Gutshall

Production Dates: December 3-11 in the Studio Theatre

Plot Summary: A tragedy (with humor) by Spain’s greatest 20th poet/playwright.  Bernarda Alba is a domineering widow in a small Spanish village in 1936 who is determined to enforce seven years of mourning and seclusion in her household.  Her five daughters, ranging in age from 20 to 39, have other ideas.  Their passionate desire for life inevitably collides with their mother’s iron will, in a battle to the death.

Cast Requirements:  14 women, ages 20 to 60

Bernarda (age 60) – a tyrannical widow with five unmarried daughters.

Angustias (age 39) – Bernarda’s eldest daughter and the least attractive, but because she has a dowry, she is the only daughter with a chance at marriage. She is betrothed to handsome, hot-blooded Pepe el Romano.

Magdalena (age 30) – the tender-hearted daughter, whose affectionate nature has been stifled and depressed.  An expert needlewoman, she embroiders for her sister the trousseau she will never have for herself.

Amelia (age 27) – the timid and submissive daughter, who has given up hope of ever escaping from her mother’s domination.

Martirio (age 24) – the spiteful and envious daughter, who spies on her sisters and stirs up trouble.

Adela (age 20) – the youngest and most beautiful daughter, she is the only one with the spirit to defy her mother.  She is in love with Pepe and determined to have him, in spite of her sisters.

María Josefa (age 80) – Bernarda’s senile mother, who has regressed to childhood and has to be locked up. She is heard shouting from her room and sometimes succeeds in escaping.

La Poncia (age 60)- Bernarda’s housekeeper and confidante. Sensible and humorous, she ridicules and abuses Bernarda behind her back.

Maid (age 40-50) – weary and over-worked, another of Bernarda’s victims.

Prudencia (age 50) – a neighbor, pious and gossipy.

Beggar Woman

Women Mourners

For more information, call Holly Gutshall at (904)221-0954.

By William Shakespeare
Directed by Dave Thomas

December 5, 2010 at 5:00pm.

Show dates March  4 – 26, 2011

Roles for 14 men and  5  women

Please prepare/memorize a monologue/soliloquy from a Shakespearean character that has similar qualitites to the character you would most like to be read for in the audition (18-30 lines should sufficient)

Some gender blind casting may occur. All ETHNIC actors are highly encouraged to audition. This will be set in an exotic and fictionalized 1954…ladies, think Doris Day, Cyd Charisse, Chita Rivera, or Debbie Reynolds at an Architectual Digest pool party. Men, think Rock Hudson, Dean Martin, Gene Kelly and the playboys of fashion, comic roles may have glimpses of Jerry Lewis or Donald O’Connor. Actors with MUSICAL talent are also needed (A Bassa Nova underscore and musical numbers for a few key soloists will be of importance in the show.)

TECH: If you are interested in being an SM, ASM, Dramaturg, or AD, contact the director: FloridaTeacherThomas@gmail.com (Dave Alan Thomas).

THE MEN:

1) Antonio: (30′s/40′s), The merchant whose love for his friend Bassanio prompts him to sign Shylock’s contract and almost lose his life. Antonio is something of a mercurial figure, often inexplicably melancholy and, as Shylock points out, possessed of an incorrigible dislike of Jews. Nonetheless, Antonio is beloved of his friends and proves merciful to Shylock, albeit with conditions.  This actor will also play a non-speaking role in other scenes: one of Arragon’s followers.

2) Salerio: (20′s/30′s), A Venetian gentleman, and friend to Antonio, Bassanio, and Lorenzo. Salarino escorts the newlyweds Jessica and Lorenzo to Belmont, and returns with Bassanio and Gratiano for Antonio’s trial. He is often almost indistinguishable from his companion Solanio.

3) Solanio: (20′s/30′s), A Venetian gentleman, and frequent counterpart to Salarino.

4) Bassanio: (late 20′s/30′s), A gentleman of Venice, and a kinsman and dear friend to Antonio. Bassanio’s love for the wealthy Portia leads him to borrow money from Shylock with Antonio as his guarantor. An ineffectual businessman, Bassanio proves himself a worthy suitor, correctly identifying the casket that contains Portia’s portrait.

5) Lorenzo: (20′s), A friend of Bassanio and Antonio, Lorenzo is in love with Shylock’s daughter, Jessica. He schemes to help Jessica escape from her father’s house, and he eventually elopes with her to Belmont.

6) Gratiano: (20′s/30′s),  A friend of Bassanio’s who accompanies him to Belmont. A coarse and garrulous young man, Gratiano is Shylock’s most vocal and insulting critic during the trial. While Bassanio courts Portia, Gratiano falls in love with and eventually weds Portia’s lady-in-waiting, Nerissa.

7) Shylock: (40′s/50′s),  A Jewish moneylender in Venice. Angered by his mistreatment at the hands of Venice’s Christians, particularly Antonio, Shylock schemes to eke out his revenge by ruthlessly demanding as payment a pound of Antonio’s flesh. Although seen by the rest of the play’s characters as an inhuman monster, Shylock at times diverges from stereotype and reveals himself to be quite human. These contradictions, and his eloquent expressions of hatred, have earned Shylock a place as one of Shakespeare’s most memorable characters.

8 ) The prince of Morocco: (20′s/30′s), black, A Moorish prince who seeks Portia’s hand in marriage. The prince of Morocco asks Portia to ignore his dark countenance and seeks to win her by picking one of the three caskets. Certain that the caskets reflect Portia’s beauty and stature, the prince of Morocco picks the gold chest, which proves to be incorrect. This actor will also play a Magnificoe and either a musician (if capable) or other in Act V.

9) Launcelot Gobbo: (30′s/40′s) -  Bassanio’s servant. A comical, clownish figure who is especially adept at making puns, Launcelot leaves Shylock’s service in order to work for Bassanio. This actor will also play a non-speaking role in other scenes: one of Arragon’s followers.

10) Old Gobbo: (60′s/70′s) -  Launcelot’s father, also a servant in Venice. This actor also plays three other minor roles: a follower of Arragon, a Magnificoe, and a follower of Antonio/Grataino.

11) Tubal (30′s-50′s)  A Jew in Venice, and one of Shylock’s friends. This actor will also play three other minor roles: Leonardo, a Magnificoe, and either a musician (if capable) or other in Act V.

12) The Prince of Arragon: (20′s/30′s),  An arrogant Spanish nobleman who also attempts to win Portia’s hand by picking a casket. Like the prince of Morocco, however, the prince of Arragon chooses unwisely. He picks the silver casket, which gives him a message calling him an idiot instead of Portia’s hand. This actor will also play four other minor roles: a servant with Leonardo, a gaoler, a Magnificoe, and either a musician (if capable) or other in Act V.

13) The duke of Venice: (30′s-50′s),  The ruler of Venice, who presides over Antonio’s trial. Although a powerful man, the duke’s state is built on respect for the law, and he is unable to help Antonio. This actor will also play two-three other roles: a follower of Morocco, Antonio’s serving man, and possibly a musician (if capable) or other in Act V.

14) Stephano: (20′s/30′s), a minor speaking role in Act V.  This actor will also play a follower of Morrocco, Balthazar, and a Magnificoe,

THE WOMEN:

1) Portia: (late 20′s/30′s), A wealthy heiress from Belmont. Portia’s beauty is matched only by her intelligence. Bound by a clause in her father’s will that forces her to marry whichever suitor chooses correctly among three caskets, Portia is nonetheless able to marry her true love, Bassanio. Far and away the most clever of the play’s characters, it is Portia, in the disguise of a young law clerk, who saves Antonio from Shylock’s knife.

2) Nerissa: (30′s),  Portia’s lady-in-waiting and confidante. She marries Gratiano and escorts Portia on Portia’s trip to Venice by disguising herself as her law clerk.

3) Jessica: (20′s),  Although she is Shylock’s daughter, Jessica hates life in her father’s house, and elopes with the young Christian gentleman, Lorenzo. The fate of her soul is often in doubt: the play’s characters wonder if her marriage can overcome the fact that she was born a Jew, and we wonder if her sale of a ring given to her father by her mother is excessively callous.

4) Messenger: (20′s-40′s), a minor speaking role.  This actress also appears as a follower of Portia, a woman of Verona, and is either the primary or secondary singer or a musician (featured in Act V.)  However, the singer may underscore scenes throughout the show.

5) Singer: (20′s-40′s), this actress is either the primary or secondary singer or a musician (featured in Act V.)  However, the singer may underscore scenes throughout the show.  This actress also plays a serving woman/follower of Portia, and a woman of Verona.

PLOT SYNOPSIS:

Antonio, a Venetian merchant, complains to his friends of a melancholy that he cannot explain. His friend Bassanio is desperately in need of money to court Portia, a wealthy heiress who lives in the city of Belmont. Bassanio asks Antonio for a loan in order to travel in style to Portia’s estate. Antonio agrees, but is unable to make the loan himself because his own money is all invested in a number of trade ships that are still at sea. Antonio suggests that Bassanio secure the loan from one of the city’s moneylenders and name Antonio as the loan’s guarantor. In Belmont, Portia expresses sadness over the terms of her father’s will, which stipulates that she must marry the man who correctly chooses one of three caskets. None of Portia’s current suitors are to her liking, and she and her lady-in-waiting, Nerissa, fondly remember a visit paid some time before by Bassanio.

In Venice, Antonio and Bassanio approach Shylock, a Jewish moneylender, for a loan. Shylock nurses a long-standing grudge against Antonio, who has made a habit of berating Shylock and other Jews for their usury, the practice of loaning money at exorbitant rates of interest, and who undermines their business by offering interest-free loans. Although Antonio refuses to apologize for his behavior, Shylock acts agreeably and offers to lend Bassanio three thousand ducats with no interest. Shylock adds, however, that should the loan go unpaid, Shylock will be entitled to a pound of Antonio’s own flesh. Despite Bassanio’s warnings, Antonio agrees. In Shylock’s own household, his servant Launcelot decides to leave Shylock’s service to work for Bassanio, and Shylock’s daughter Jessica schemes to elope with Antonio’s friend Lorenzo. That night, the streets of Venice fill up with revelers, and Jessica escapes with Lorenzo by dressing as his page. After a night of celebration, Bassanio and his friend Gratiano leave for Belmont, where Bassanio intends to win Portia’s hand.

In Belmont, Portia welcomes the prince of Morocco, who has come in an attempt to choose the right casket to marry her. The prince studies the inscriptions on the three caskets and chooses the gold one, which proves to be an incorrect choice. In Venice, Shylock is furious to find that his daughter has run away, but rejoices in the fact that Antonio’s ships are rumored to have been wrecked and that he will soon be able to claim his debt. In Belmont, the prince of Arragon also visits Portia. He, too, studies the caskets carefully, but he picks the silver one, which is also incorrect. Bassanio arrives at Portia’s estate, and they declare their love for one another. Despite Portia’s request that he wait before choosing, Bassanio immediately picks the correct casket, which is made of lead. He and Portia rejoice, and Gratiano confesses that he has fallen in love with Nerissa. The couples decide on a double wedding. Portia gives Bassanio a ring as a token of love, and makes him swear that under no circumstances will he part with it. They are joined, unexpectedly, by Lorenzo and Jessica. The celebration, however, is cut short by the news that Antonio has indeed lost his ships, and that he has forfeited his bond to Shylock. Bassanio and Gratiano immediately travel to Venice to try and save Antonio’s life. After they leave, Portia tells Nerissa that they will go to Venice disguised as men.

Shylock ignores the many pleas to spare Antonio’s life, and a trial is called to decide the matter. The duke of Venice, who presides over the trial, announces that he has sent for a legal expert, who turns out to be Portia disguised as a young man of law. Portia asks Shylock to show mercy, but he remains inflexible and insists the pound of flesh is rightfully his. Bassanio offers Shylock twice the money due him, but Shylock insists on collecting the bond as it is written. Portia examines the contract and, finding it legally binding, declares that Shylock is entitled to the merchant’s flesh. Shylock ecstatically praises her wisdom, but as he is on the verge of collecting his due, Portia reminds him that he must do so without causing Antonio to bleed, as the contract does not entitle him to any blood. Trapped by this logic, Shylock hastily agrees to take Bassanio’s money instead, but Portia insists that Shylock take his bond as written, or nothing at all. Portia informs Shylock that he is guilty of conspiring against the life of a Venetian citizen, which means he must turn over half of his property to the state and the other half to Antonio. The duke spares Shylock’s life and takes a fine instead of Shylock’s property. Antonio also forgoes his half of Shylock’s wealth on two conditions: first, Shylock must convert to Christianity, and second, he must will the entirety of his estate to Lorenzo and Jessica upon his death. Shylock agrees and takes his leave.

Bassanio, who does not see through Portia’s disguise, showers the young law clerk with thanks, and is eventually pressured into giving Portia the ring with which he promised never to part. Gratiano gives Nerissa, who is disguised as Portia’s clerk, his ring. The two women return to Belmont, where they find Lorenzo and Jessica declaring their love to each other under the moonlight. When Bassanio and Gratiano arrive the next day, their wives accuse them of faithlessly giving their rings to other women. Before the deception goes too far, however, Portia reveals that she was, in fact, the law clerk, and both she and Nerissa reconcile with their husbands. Lorenzo and Jessica are pleased to learn of their inheritance from Shylock, and the joyful news arrives that Antonio’s ships have in fact made it back safely. The group celebrates its good fortune.

FREE WORKSHOP AT PLAYERS BY THE SEA!

Auditioning for Shaksepeare:

A Shakespearean Monologue Workshop

for Teenage Actors:

Saturday, October 16th from 12:00 to 4 pm

for Adult Actors (18+):

Saturday, October 23 from 12:00 to 4pm

**RSVP REQUIRED (see below)**

-Participants limited to 16 actors/actresses

• Come a prepared 18-30 lines (MEMORIZED) of a Shakespearean monologue appropriate for your character type

• Students should also have at least three copies of their monologue printed out. Make the spacing and font large enough to write in the margins and around the text.

• Come dressed to move.

This workshop is to be taught by Dave Alan Thomas (director of  this season’s The Merchant of Venice at PBTS) Mr. Thomas possess an MFA in theatre directing, and has signifcant Shakepearean experience, including training on The Globe stage in London.

***RSVP to this event and a confirmation from Mr. Thomas will determine if you will be on the partipant list. If more than 16 students want to participate, a second workshop may occur.

Contact workshop director Dave Thomas  to reserve your involvement.

floridateacherthomas@gmail.com

About Dave A. Thomas

Dave Alan Thomas received his MFA in theatre directing from Florida Atlantic University, where he focused in classical studies. His thesis project was a Commedia Dell’Arte inspired version of Shakespeare’s The Tempest. Dave received additional graduate theatre training (Sanford Meisner technique) at Northern Illinois University, and a BA from UF. This summer, he spent five weeks in London at Shakespeare’s Globe stage, where he performed the title role in Macbeth and studied with some of the best practitioners of Shakespeare in the business.  Previous Shakespearean performances have included “Antony” in Antony and Cleopatra, and roles in Measure for Measure, The Taming of the Shrew, Much Ado about Nothing, and The Comedy of Errors, which he is directing as the sponsor of the theatre program at Middleburg High School; he has taught English and drama in Florida since 2000.  In this season’s opening show at Theatre Jax, he is playing “Capulet” in Romeo and Juliet.   Dave has acted, designed sets, written plays and directed for theatres from Illinois to Florida.  Dave’s local credits include: “Willy Loman” (Death of a Salesman) at Limelight Theatre,  “Roger Debris” (The Producers) at OPCT, and “Charlemagne” (Pippin) at Players by the Sea, where he directed last season’s studio production of Art. Other favorite directing credits include: Barnum, Noises Off, A Man for all Seasons, The Lion in Winter, Torch Song Trilogy, The Artificial Jungle, The Real Inspector Hound and Kiss of the Spider Woman.  The Merchant of Venice will be his main stage directing debut at Players by the Sea.

• Auditions are open to actors of all levels of experience in the community.  Please check back for upcoming postings.
• Contact Educational Director Barbara Colaciello Williams at barbara@playersbythesea.org for information on audition coaching & adult acting classes through our School of the Arts.
• Sign up below for our online BRAVO newsletter for email updates on auditions and PBTS events.

Sign up for our Pelican Club Email Newsletter Join today to receive timely updates on our theatrical performances, auditions, educational programs, special events and more. Just enter your email and click GO! With Constant Contact you can manager your own subscription to receive just the information you’re interested in, like Auditions, or Performances.

For information on performances, special events or educational programs, contact the following individuals or call us for more information or for reservations at (904) 249-0289.

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Players By-The-Sea
106 Sixth Street North
Jacksonville Beach, FL 32250
(904) 249-0214 – Fax

General Contact	904.249.0289
Joseph Schwarz	Executive Director
Barbara Williams	Educational Director
Anthony Hodge	Webmaster

Sign up for our Pelican Club Email Newsletter Join today to receive timely updates on our theatrical performances, auditions, educational programs, special events and more. Just enter your email and click GO! With Constant Contact you can manager your own subscription to receive just the information you’re interested in, like Auditions, or Performances.