A Midsummer Night s Dream

Transcription

1 Audition Packet Audition Info, Audition Form, List of Characters, Audition Sides Red Octopus Theatre Company

2 Audition Information Auditions will be held on Saturday, May 5 th at 2pm at the Newport Performing Arts Center (777 W Olive St, Newport, Oregon). Please arrive on time and enter through the STAGE DOOR only. Once there, please check in with the audition facilitator and fill out an audition form (if you have not already done so), then proceed to the waiting area. Auditioners will be seen one at a time, in the order in which they check in. If you must leave early, please inform the audition facilitator when you arrive. You ll be asked to read a lines from the script, and sing 10 seconds of your favorite 80 s song Even if you re auditioning for several roles, please select just TWO characters from the audition sides * provided and be prepared to read those lines aloud to the directors. (You ll need to read at least one of the characters sides, but be prepared to read for the other character, too, if asked.) These lines do NOT need to be memorized. For your song, please choose something you like that shows off your vocal range and skill. We ask that you sing a capella *. (Please do NOT let your song go over 10 second.) Once you ve read/sung, you may be released, or you may be asked to stay and read/do/sign something further. Again, if you cannot stay for the entire timeframe (2pm 5pm) please notify the audition facilitator immediately when you arrive. Callbacks will be held the following day May 6 th - and are by INVITATION ONLY. If you will not be available for callbacks, please notify us when you audition. Those we would like to see at callbacks will be notified by 8pm on Saturday, May 5th. At that time, you ll be provided with the scenes we would like you to read with others, and/or the songs we d like you to sing. You may also ask to take part in a (brief) movement/dance skill assessment. Callback times may be staggered we ll provide details if you are called back. IMPORTANT: If you do not get called back, it does not necessarily mean you are no longer in consideration for a role. Sometimes decisions are made on day one, and other times it s simply a matter of not needing to see anything further. * An audition side is simply a set of lines from the script selected for the purpose of auditions. The term sides actually dates back to Shakespeare s time. Rather than give the entire script to every actor in a play, actors got only the lines and cues for their specific roles. The practice saved on paper, and the limited number of complete scripts prevented rival theater companies from stealing each others scripts. ** Please sing unaccompanied (no need to bring sheet music or a CD.)

3 May AUDITION FORM A MIDSUMMER NIGHT S DREAM Red Octopus Theatre Co. YOUR NAME If cast, how would you like your name to appear in our program? CELL NUMBER Which role(s) are you auditioning for? ADDRESS Would you accept another role? Yes No Do you check your daily? Yes No This production has actors, dancers, vocalists, and those who must do all three or a combination thereof. Please answer the questions below to help us get an idea of your talents in these areas Is there any role you will not accept? How would you rate your skill/comfort when it comes to ACTING? (Please circle one) ^ Please be honest here. I don t judge, but I do need to know this info. Are you willing to kiss another actor? Yes No Depends I M THE BEST ACTOR EVER I VE GOT SKILLZ I DO OKAY I CAN FAKE IT I M HONESTLY NOT VERY GOOD, BUT I LL TRY I CAN T ACT AT ALL (I don t believe you!) How would you rate your skill/comfort when it comes to SINGING? (Please circle one) I M THE BEST SINGER EVER I VE GOT SKILLZ I DO OKAY I CAN FAKE IT I M HONESTLY NOT VERY GOOD, BUT I LL TRY I CAN T SING AT ALL (I don t believe you!) How would you rate your skill/comfort when it comes to DANCING? (Please circle one) I M THE BEST DANCER EVER I VE GOT SKILLZ I DO OKAY I CAN FAKE IT I M HONESTLY NOT VERY GOOD, BUT I LL TRY I CAN T DANCE AT ALL (I don t believe you!) Now, for real, how are you at MEMORIZING LINES? (Please circle one) I M ALWAYS THE FIRST ONE OFF-BOOK I LL HAVE THEM BY THE OFF-BOOK DATE I MAY BE LATE GETTING OFF-BOOK PLEASE DON T GIVE ME MANY LINES RELATED STAGE EXPERIENCE Please list related experience you d like to let us know about (roles you ve played, training you ve had, lions you ve tamed, etc.) REHEARSAL CONFLICTS Please list ALL conflicts you have from June - October. (Both ongoing/daily conflicts and one-time/vacation conflicts) Minor conflicts will not affect casting. Conflict date(s) / time(s) Description of conflict Actors are expected to be present and on time for all rehearsals (unless prior arrangements have been made). - CONTINUED ON OTHER SIDE -

4 * PLEASE READ AND AGREE TO ALL OF THE FOLLOWING BEFORE SIGNING THIS FORM * COMMITMENT TO PRODUCTION PROCESS: By auditioning, you agree that (should you be cast) you will respect the production, your fellow cast members, your directors, and your crew by arriving on time, prepared, and ready to work for all rehearsals (unless previously excused due to conflict.) You acknowledge that missing or being late to rehearsal is disrespectful to other cast members and may greatly delay the rehearsal process for everyone involved. If rehearsals start on time, they ll end on time. The directors will NOT keep you rehearsing late into the night. Please be on time for all call times. If you need to warm up or chat, please arrive early. COMMITMENT TO ROLES: By auditioning for this show, you agree that you will learn your lines, as written, by the off-book date, and that you will work hard to learn blocking and notes in a timely manner. You will be professional and focused at all rehearsals. You acknowledge that it is your responsibility to make the time, outside of rehearsal, to learn your lines/blocking/choreography/lyrics/music. You further agree to take the time to rehearse, on your own to avoid delaying the rehearsal process. SCENT-FREE ZONE: The Performing Arts Center is a scent-free zone. Please do not wear any scents to rehearsals or performances. This includes scented lotions. This is incredibly important you may love your scent, but it can trigger severe allergic reactions for some people. Please take this request seriously. SICK-FREE ZONE: While it is important to have cast members present for their rehearsals, please do NOT come to rehearsal if you re sick in any way that may be contagious. Missing one cast member for one night is better than losing an entire cast the following week. If you have not been fever-free for 24 hours, please call in sick. SUBSTANCE-FREE ZONE: There will be NO drinking at nor prior to rehearsals or performances. Arriving to the theater under the influence of alcohol or other substances not only derails our rehearsal process, it is dangerous and irresponsible. It will NOT be tolerated under any circumstances. CODE OF CONDUCT: By auditioning for this show, you agree to be respectful of all those auditioning, and of all those ultimately cast. You will refrain from passing judgment on someone else s abilities or lack thereof. You will come to rehearsals with a positive attitude and avoid participating in gossip or other negative behavior. Please remember that ALL of those involved including your Director, Music Director, Stage Manager, Costumer(s), Set Builder(s), and Run Crew are VOLUNTEERS. Please respect the enormous amount of time, thought, energy, and effort they are giving freely, and remember that they like you are here because they want to do something they love and enjoy. We ve all had experiences in the past where a production that should have been enjoyable was made miserable due to one or two people don t be that guy. The goal is to have fun and create something we can all enjoy and be proud of anything that doesn t work toward those goals works against it. SIGNATURE DATE If you re under 18, we ll also need a parent or guardian to sign and agree to this form. Parent/Guardian Name Parent/Guardian Signature Cell number CALL-BACK INFORMATION: Call-backs are by invitation only and will be held tomorrow. If you will not be available, please notify us when you audition. Those we would like to see tomorrow will be notified by 8pm tonight. If you do not get called back, it does not necessarily mean you are no longer in consideration for a role. (I cannot state this strongly enough. Some decisions may be made on day one and/or we simply don t need to see anything further.)

5 CHARACTER LIST Hippolyta Queen of the Amazons. She's a strong, witty woman full of sass and sarcasm, and she loves Theseus -- despite her sense of humor often being lost on him. This is primarily an acting role. Performer does not necessarily need to be able to sing, nor dance. LINE LOAD = LARGE, SONGS (VOCALS): 0-3 Theseus The Duke of Athens. He's about to marry Hippolyta, Queen of the Amazons. He's a bit selfinvolved and caught up in wedding planning lately. This is primarily an acting role. Performer does not necessarily need to be able to sing, nor dance. LINE LOAD = VERY LARGE, SONGS (VOCALS): 0-3 Helena The broken hearted and determined former love interest of Demetrius. She still carries a torch for him (a really big one). But, to her dismay, Demetrius is in love with Hermia. This role requires a capable actor and vocalist. Dancing not (necessarily) required. LINE LOAD = VERY LARGE, SONGS (VOCALS): 4-5 Demetrius He is the former love interest of Helena, but is now in love with Hermia. He has her father s blessing to be with her, but Hermia does not love him and openly professes her love to Lysander. This role requires a capable actor and vocalist. Dancing not (necessarily) required. LINE LOAD = VERY LARGE, SONGS (VOCALS): 5-6 Lysander He is in love with Hermia, and she with him. However, her father insists that she must marry another. Lysander hatches a plan to escape into the forest and marry Hermia in secret. This is primarily an acting role, with some singing required. Dancing not (necessarily) required. LINE LOAD = VERY LARGE, SONGS (VOCALS): 2-5 Hermia The daughter of Egeus who is in love with Lysander. Her father insists she marry Demetrius. To escape this cruel fate, she and Lysander plan to run off together and be married in secret. This role requires a capable actor and vocalist. Dancing not (necessarily) required. LINE LOAD = VERY LARGE, SONGS (VOCALS): 4-5

6 Egeus The father of Hermia who insists she marry the man he has chosen, or be put to death. He brings his quarrel to Theseus for resolution. This is an acting role with no singing or dancing required. LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 0 Philostrate Master of the revels, Philostrate is in charge of drumming up entertainment for the wedding of Theseus and Hippolyta. He enlists Peter Quince to put on the play Pyramus and Thisbe. This is an acting role with no singing or dancing required. LINE LOAD = VERY LIGHT, SONGS (VOCALS): 0 Peter Quince A grave keeper and one-time theatrical director. Leader of the dead poets a raggedy band of actors who put on a play within the play. This performer should be a strong actor and capable vocalist. While this role does not require a a dancer, it does require some movement. LINE LOAD = VERY LARGE, SONGS (VOCALS): 0-3 Bottom A quite self-involved and far-from-modest actor prone to overconfidence, malapropisms, and mispronunciations. One of the dead poets who put on a play within the play. This performer should be a strong actor, and while the role does not require a strong vocalist, the performer should be willing to rap. Yep, rap. Role requires only minimal movement. LINE LOAD = VERY LARGE, SONGS (VOCALS): 1-4 Flute One of the dead poets a raggedy band of actors who put on a play within the play. Flute is forced to play the part of a young girl within the play, much to his displeasure. This is mainly an acting role. Minimal movement required, no vocals (but if you sing, we ll use it!) LINE LOAD = AVERAGE, SONGS (VOCALS): 0-3 Snout One of the dead poets a raggedy band of actors who put on a play within the play. This is mainly an acting role. Minimal movement required, no vocals (but if you sing, we ll use it!) LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 0-3 Snug One of the dead poets a raggedy band of actors who put on a play within the play. This is mainly an acting role. Minimal movement required, no vocals (but if you sing, we ll use it!) LINE LOAD = VERY LIGHT, SONGS (VOCALS): 0-3

7 Sarah / Starveling Sarah is a teenage girl whose baby step-brother is stolen by Oberon and Titania s goblins and fairies leading her into the magical world of A Midsummer Night s Dream. She is mistaken for one of the dead poets and ends up acting in a play, within a play, within a play. This is mainly an acting role with some dance required. No vocals are necessary (though, if you can sing, we ll use it!) LINE LOAD = AVERAGE, SONGS (VOCALS): 0-3 Oberon King of the night creatures and Titania s lover. This mysterious and mystical day sleeper is at odds with Titania, because she has stolen a human boy that he wants as one of his goblins. This performer must be a strong actor and vocalist. There is also some movement required. LINE LOAD = LARGE, SONGS (VOCALS): 3-5 Titania Queen of the fairies and Oberon s lover. She is strong, fierce, classy, and capable. She has stolen a human boy and refuses to give him up to Oberon. This performer must be a strong actor and vocalist. There is also some movement required. LINE LOAD = LARGE, SONGS (VOCALS): 3-5 Puck A wickedly playful goblin, Puck is Oberon s jester and right hand man. Fabulously sassy, Puck enjoys making mischief and meddling especially in affairs of the heart. This performer must be a strong actor and vocalist. While this role does not require a seasoned dancer, it does require some dancing. LINE LOAD = VERY LARGE, SONGS (VOCALS): 2-5 Frog Just as Puck entertains Oberon, so Frog entertains Puck and annoys him. Frog is a feisty goblin. This actor should be comfortable with some dance and movement. They do not necessarily need to be able to sing, but if they can we ll use it! LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 0-4 Moth Another of Oberon s crew, Moth is an able goblin, but not as wicked or outspoken as the others. This actor should be comfortable with some dance and movement. They do not necessarily need to be able to sing, but if they can we ll use it! LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 0-4

8 Peaseblossom A nymph (magical forest spirit) and lead attendant to Titania. This actor should be comfortable with dancing and movement, and some singing. LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 5 Cobweb A nymph (magical forest spirit) and second attendant to Titania. This actor should be comfortable with dancing and movement, and some singing. LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 5 Mustardseed A nymph (magical forest spirit) and third attendant to Titania. This actor should be comfortable with dancing and movement, and some singing. LINE LOAD = AVERAGE/LIGHT, SONGS (VOCALS): 5 The Chorus Two spirited songstresses who sing, side-stage, throughout the show. These are singing roles. They require strong vocal chops, but no acting or dancing. LINE LOAD = NONE, SONGS (VOCALS): 13 William Shakespeare Yes, THE William Shakespeare. This is a cameo acting role and requires an actor with EXCELLENT comedic timing. LINE LOAD = VERY LIGHT, SONGS (VOCALS): 0-2 Blossom, Bud, and Bloom Forest pixies and attendant of Titania. These are primarily dancing roles. Dancers need not be able to sing, but if they can, we ll use it! LINE LOAD = NONE, SONGS (VOCALS): 0 Knights The two knights have no lines, but appear in a few scenes and help with set changes. LINE LOAD = NONE, SONGS (VOCALS): 0 LINE LOADS: While we ARE using Shakespeare s words, our script is quite different from the original due to trimming, line re-assignment, etc. Because of that, and because we know that some of our actors are more comfortable with fewer lines, we ve included line load notes above to help you determine the relative size of each role in terms of memorization. SONGS (VOCALS): If a role says SONGS (VOCALS): 0-3, that means NO vocals are required, but if the performer cast CAN sing, there would be up to three songs they would have the opportunity to participate in.

9 Audition Sides Theseus and Oberon Theseus Here Theseus tells Hippolyta how excited he is to marry her. Then he asks Philostrate, his master of revels, to go and raise the dead to celebrate with him Now, fair Hippolyta, our nuptial hour Draws on apace; four happy days bring in Another moon: but, O, methinks, how slow This old moon wanes! She lingers my desires! Go, Philostrate, and all the spirits wake. The nimble stir up from their funeral beds. The pale and sprightly creatures of the night, And those slightly alive, or mostly dead. For tis with these we mean to celebrate. Oberon Here Oberon speaks tells Puck to fix his mistakes first, make things overcast so that the morning light doesn t creep in yet, then keep Lysander and Demetrius from fighting, then give Lysander an antidote to the love flower poison so that he sees things normally again. Oberon will go to Titania, ask for the child, and give her the antidote. He must do this quickly, before day breaks Thou see'st these lovers seek a place to fight: Hie therefore, Robin, overcast the night; And lead these testy rivals so astray As one come not within another's way. Then crush this herb into Lysander's eye; Whose liquor hath this virtuous property, To take from thence all error with his might, And make his eyeballs roll with wonted sight. When they next wake, all this derision Shall seem a dream and fruitless vision. Whiles I in this affair do thee employ, I'll to my queen and beg her changeling boy; And then I will her charmed eye release From monster's view, and all things shall be peace. I must myself exile from the light, And must for aye consort with black-brow'd night. For we are spirits of another sort: And with the morning's love cannot make sport.

10 Audition Sides Helena & Hermia Helena Here Helena is upset and whining because she loves Demetrius, but he no longer loves her and now pursues Hermia How happy some o'er other some can be! Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so; He will not know what all but he do know: And as he errs, doting on Hermia's eyes, So I, admiring of his qualities: Things base and vile, holding no quantity, Love can transpose to form and dignity: Love looks not with the eyes, but with the mind; And therefore is wing'd Cupid painted blind. Hermia Hermia fell asleep in the forest near Lysander as they were running away to be married in secret. Here she wakes suddenly from a bad dream, then discovers Lysander is gone Help me, Lysander, help me! do thy best To pluck this crawling serpent from my breast! Ay me, for pity! What a dream was here! Lysander, look how I do quake with fear. Lysander! what, removed? Lysander! lord! What, out of hearing? Gone? No sound, no word? Alack, where are you? Speak, an if you hear; Speak, of all loves! I swoon almost with fear.

11 Audition Sides Demetrius and Lysander Demetrius Helena told Demetrius of Lysander s plan to marry Hermia in secret, so Demetrius has gone after them, and Helena has followed. Here Demetrius very rudely tells her to go away Do I entice you? Do I speak you fair? I love thee not, therefore pursue me not. Where is Lysander and fair Hermia? The one I'll slay, the other slayeth me. Thou told'st me they were stol n unto this wood. Hence, get thee gone, and follow me no more. Tempt not too much the hate of my spirit; For I am sick when I do look on thee. Lysander Here Lysander tells Hermia they should run away together, through the woods, and be married in secret, far from where the laws of Athens have power over them I have a widow aunt, a dowager Of great revenue, and she hath no child: And she respects me as her only son. From Athens is her house but seven leagues; There, gentle Hermia, may I marry thee; And to that place the sharp Athenian law Cannot pursue us. If thou loves me then, Steal forth thy father's house to-morrow night; And in the wood, a league without the town, Where I did meet thee once with Helena, Come to me, for there will I stay for thee.

12 Audition Sides Titania and Hippolyta Titania Titania, having been poisoned by the juice a special love flower, thinks she is in love with Bottom (who currently has the head of a donkey, thanks to Puck s meddling). Here she praises his voice, mind, and beauty, and talks herself up, too, to convince him to stay with her I pray thee, gentle mortal, sing again: Mine ear is much enamour'd of thy note; So is mine eye enthralled to thy shape. Thou art as wise as thou art beautiful. Out of this wood do not desire to go: Thou remain here, whether thou wilt or no. I am a spirit of no common rate; The summer still doth tend upon my state; And I do love thee: therefore, go with me; I'll give thee spirits to attend on thee, Come Peaseblossom, Cobweb, and Mustardseed! Hippolyta Hippolyta is a fantastic role, but she doesn t have long monologues like some characters. Her lines are often sassy, sarcastic come-backs. Here, Theseus has told Hermia that if she doesn t marry Demetrius, she ll be put to death on his and Hippolyta s wedding day. Hippolyta responds What joyful gift my love dost here propose. The blood of virgins? Thou dost know me well. Here, Theseus has told Hermia that she must either die, or never again be in the company of men. Hippolyta says to Hermia, as an aside And when men do sayeth such words as these, Methinks all women shoulds t the latter seek.

13 Audition Sides William Shakespeare and Puck, Frog, Moth Puck, Frog, Moth Here Puck reports back to Oberon about how he poisoned Titania with the juice of a love-flower. A raggedy bunch of actors rehearsed near where she slept, and when Bottom (playing the role of Pyramus) ducked behind a bush, Puck used magic to put the head of a donkey on him. Then when he was called back into the scene, the actors saw his head and ran away. My mistress with a monster is in love! Near to her close and consecrated bower, While she was in her dull and sleeping hour, A crew of patches, rude theatricals, That were but lately dead there, one and all, Were met together to rehearse a play Intended for great Theseus' nuptial-day. The shallowest thick-skin of that barren sort, Who Pyramus presented, in their sport, Forsook his scene and enter'd in a brake When I did him at this advantage take! An ass's nole I fixed on his head: Anon his Thisbe must be answered, And forth my mimic comes. When they him spy, Away, away his fellows swiftly fly! William Shakespeare William Shakespeare has suddenly appeared in the house of Sarah (a teenager). She immediately asks if he s someone else. Here he replies to Sarah Who? What? No. No, I m I m Shakespeare. William Shakespeare? You know (he does the Shakespeare foot pose). Seriously, was that not clear? (Then to the audience) Was that not clear? (Then back to Sarah) Did you not see the tights? (Sarah asks him if he wrote A Midsummer Night s Dream. ) Yes. Well, I mean, there are several schools of thought on that Bacon, Marlowe it s really a discussion for another day. I mean, look - my name s right there on the cover, isn t it? (He looks) Wait Damn! They ve spelled it wrong.

14 Audition Sides Sarah and Peaseblossom, Cobweb, Mustardseed Peaseblossom, Cobweb, Mustardseed Here the Nymphs are speaking with Puck and explaining their duties I do wander everywhere, Swifter than the moon's sphere; And I serve the fairy queen, To dew her orbs upon the green. The cowslips tall her pensioners be: In their gold coats spots you see; Those be rubies, fairy favours! In those freckles live their savours. I must go seek some dewdrops here And hang a pearl in every cowslip's ear. Farewell, thou lob of spirits; We'll be gone: Our queen and all her elves come here anon. Sarah / Starveling Here Sarah, an 80 s teen and aspiring actor, rehearses a scene by herself, in a park Give me the changeling child. (She walks forward) The king doth keep his revels here to-night: Take heed the queen come not within his sight; For Oberon is passing fell and wrath, Because that she as her attendant hath A lovely boy, stole whilst he was sleeping; She never had so sweet a changeling; And jealous Oberon (She pauses, thinks. Reviews the lines she just said.) So sweet a changeling And jealous Oberon Damn. (She pulls out a copy of A Midsummer Night s Dream.) I can never remember that line. (She reads) And jealous Oberon would have the child.

15 Audition Sides Bottom, Quince, and Flute Peter Quince Here Quince tells his actors what they ll be performing for Theseus and Hippolyta s wedding Here is the scroll of every name thought fit to play in an interlude before the duke and the duchess, on their wedding-day at night. Marry, our play is, The most lamentable comedy, and most cruel death of Pyramus and Thisbe. But, masters, here are your parts: and I am to entreat you, request you and desire you, to con them by to-morrow night; and meet me here in the wood, by moonlight; here will we rehearse. I pray you, fail me not. Bottom Here Bottom is concerned that the Lion in Pyramus and Thisbe might frighten the ladies Masters, you ought to consider with yourselves: to bring in--god shield us!--a lion among ladies, is a most dreadful thing. You must name his name, and half his face must be seen through the lion's neck: and he himself must speak through, saying thus, or to the same defect,--'ladies,'--or 'Fair-ladies--I would wish You,'--or 'I would request you,'--or 'I would entreat you,--not to fear, not to tremble: my life for yours. If you think I come hither as a lion, it were pity of my life: no I am no such thing; I am a man as other men are;' and there indeed let him name his name, and tell them plainly he is Snug the poet. Flute Here Flute plays Thisbe in the play within a play. He uses a ridiculous, high-pitched voice to show that is playing a young girl. Here Thisbe finds her love, Pyramus, dead so she stabs herself. Asleep, my love? What, dead, my dove? O Pyramus, arise! Speak, speak. Quite dumb? Dead, dead? A tomb Must cover thy sweet eyes. These my lips, This cherry nose, These yellow cowslip cheeks, Are gone, are gone: Lovers, make moan: His eyes were green as leeks. Tongue, not a word: Come, trusty sword; Come, blade, my breast imbrue: And, farewell, friends; Thus Thisbe ends: Adieu, adieu, adieu.

16 Audition Sides Egeus and Philostrate Egeus Here Egeus (eh-gee-us) complains/explains to Theseus, Duke of Athens, about his daughter, Hermia. Egeus wants her to marry Demetrius, but she is in love with Lysander Full of vexation come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, This man hath my consent to marry her. Stand forth, Lysander: and my gracious duke, This man bewitch'd the bosom of my child. Thou, thou, Lysander, thou dost give her rhymes, And interchange love-tokens with my child. Thou hast by moonlight at her window sung, With feigning voice verses of feigning love. Philostrate Theseus and Hippolyta have just been wed. Here Philostrate lets Theseus know that a play is available for their entertainment but it isn t a very good or entertaining play, unless he is entertained by how bad the actors efforts are. A play there is, my lord, some ten words long, Which is as brief as I have known a play; But by ten words, my lord, it is too long. Tis not for you. I have heard it over, And it is nothing, nothing in the world - Unless you can find sport in their intents; Some poets, lord, that were but lately gone, Yet raised themselves to join thy merriment.

17 Audition Sides Snug and Snout Snout Here Snout plays the part of a wall in the play within a play. He announces that he is the wall, and that there is a hole in said wall In this same interlude it doth befall That I, one Snout by name, present a wall; And such a wall, as I would have you think, That had in it a crannied hole or chink, Through which the lovers, Pyramus and Thisbe, Did whisper often very secretly. This loam, this rough-cast and this stone doth show That I am that same wall; the truth is so: And this the cranny is, right and sinister, Through which the fearful lovers are to whisper. Snug Here, Snug takes on the role of Moonshine in the play within a play. First he says his line, then when pressed for more information, he explains that he has already said all that he s supposed to have to say (he s not exactly comfortable in the limelight) (as Moonshine ) This lantern doth the horned moon present; Myself the man in moon do seem to be. (as Snug) All that I have to say, is, to tell you that the lantern is the moon; I, the man in the moon; this thorn-bush, my thorn-bush; and this dog, my dog.