What s in this Audition Packet? Show Descriptions (p.1) Program & Audition Info (p. 1-4) Character Descriptions (p.5-6) Audition Form (p.

Transcription

1 What s in this Audition Packet? Show Descriptions (p.1) Program & Audition Info (p. 1-4) Character Descriptions (p.5-6) Audition Form (p.7) James & The Giant Peach, Jr. June 20-July 2 Ages 11-14* *There may be students older than 14 considered for a few roles (Aunts Spiker & Sponge, Narrator) at the discretion of the team. Featuring a wickedly tuneful score by the Tony Award-nominated team of Pasek and Paul (Dogfight, A Christmas Story) critics rave James and the Giant Peach is a "masterpeach!" When James is sent by his conniving aunts to chop down their old fruit tree, he discovers a magic potion that launches a journey of enormous proportions! Suddenly, James finds himself in the center of the larger-than-life fleshy fruit, among human-sized insects with equally oversized personalities. But when the peach falls from the tree and rolls into the ocean, the group faces devastating danger and some serious disagreements. Luckily, James' quick wit and creative thinking helps the residents learn to live and work together as a family. Their voyage is a success... but the adventure takes a whole new twist once they land on the Empire State Building! A delightfully offbeat adaptation of the classic Roald Dahl adventure, the creative possibilities with James and The Giant Peach, Jr. are endless. Download the cast album featuring Broadway stars Megan Hilty, Christian Borle, Brian D Arcy James, and more and get to know the outlandish characters, infectious music, and outsized adventures that will keep us on our theatrical toes this summer! REHEARSAL HOURS: 8:30 am-3 pm, Mondays-Fridays, June 20-July 1. PERFORMANCES: Friday, July 1 at 4 pm & 7 pm, Saturday July 2 at 1 pm & 4 pm. Lucky Stiff June & July 4-17 Ages Tony Award-winning writing team Lynn Ahrens and Stephen Flaherty bring us this offbeat, hilarious murder mystery farce that will leave you dying of laughter! Complete with mistaken identities, six million bucks in diamonds, and a wheelchairbound corpse, Lucky Stiff s original production won the Richard Rodgers and Helen Hayes Awards for Best Musical, and kept its audiences in stitches. The story revolves around an unassuming English shoe salesman with revulsion for dogs, who is forced to take the embalmed body of his recently murdered uncle on a vacation to Monte Carlo. Should he succeed in passing his uncle off as alive, Harry Witherspoon stands to inherit six million dollars. But if not, the money goes to the Universal Dog Home of Brooklyn and he certainly can t have that. Even worse, he s being followed by a dedicated advocate for the dogs and by his uncle's near-sighted, gun-toting, ex-girlfriend both of whom are on a mission to track down the diamonds. Mix-ups and mayhem are the inevitable upshot! Lucky Stiff s fast pace, constant quickchanges, and challenging ensemble structure require solid singers and strong character actors, ready to tackle wildly different characterization(s) with solos and accents galore. Outlandishly imaginative and outrageously funny, Lucky Stiff is topped off by a fabulous and FUN Ahrens and Flaherty score, and a real heart of gold (er...diamonds!) REHEARSAL HOURS: 9 am-6 pm, June (Sun-Tue only), and 12-5:30 pm weekdays July Note: call times may be staggered on any given day, and any cast member may be called at 10 am in the last 2 weeks. Also, expect significant numbers of advance rehearsals in May and June, generally held Friday evenings, and on weekends. PERFORMANCES: Lucky Stiff runs July (7pm Thu, 7pm Fri, 2 & 7pm Sat, and 1 & 6pm Sun.) Spring Awakening June 30-July 2 & July Ages 14-19** **Alums & Adults 20+ may be considered for the roles of the adults, at the discretion of the team. The Tony Award-winning Best Musical from Duncan Sheik and Steven Sater, Spring Awakening explores the journey from adolescence to adulthood with a poignancy and passion that is both heartbreaking and illuminating. Based on Frank Wedekind s play written and set in late 19 th century Germany, the musical follows a group of deep-thinking teenagers as they wrestle with the inner and outer tumult caused by their nascent sexuality bumping up against their own naïveté and society s moral codes. A deep reflection on communication patterns between parents and children, and on generational cycles of shame and sadness, Spring Awakening challenges us to face the reality of teen experience, with all its messy, mixed-up, and mysterious emotions. Whether the characters choose to reject or respect, rebel or repress, they walk an undeniable one-way path from childhood toward adulthood. Spring Awakening asks us to consider what we re doing to help or hinder their journey. With its unflinching acknowledgement of teen sex, pregnancy, masturbation, suicide, and sexual abuse, there are triggers and tragedy in this show. While there will be no nudity in our production; graphic language, themes, and situations are part of the piece. We ask families to consider thoughtfully whether their young actor is comfortable with and ready to work on this material. If ready, our actors will need strong vocal and acting chops to tackle this electrifying fusion of alt-rock music and old-school drama, as they navigate coming-of-age in an exhilarating and daring theatrical experience. REHEARSAL HOURS: 9 am-6 pm, June 30 July 2 (Thu.-Sat. only), and 12-5:30 pm weekdays July Note: call times may be staggered on any given day, and any cast member may be called at 10 am in the last two weeks. Also, expect significant numbers of advance rehearsals in May and June, generally held Friday evenings, and on weekends. PERFORMANCES: Spring Awakening runs July (7pm Thu, 7pm Fri, 2 & 7pm Sat, and 1 & 6 pm Sun.)

2 Who are the members of the Artistic Teams? James & the Giant Peach: Amy Riley, Jenny Cianciola, & Choreographer TBD Lucky Stiff: Gina Fearn, Danielle Sertz, Christina Weakland, Billy Ray Poli, & Randal Pierce Spring Awakening: Gina Fearn, Danielle Sertz, Christina Weakland, & Meg Cossaboom Are these camps or shows? They re both! Work on performance skills in an intensive multi-week rehearsal process, strengthening your chops as you prepare for the standing-room-only performances in FlynnSpace. We also provide opportunities to participate offstage on costumes, props, lights, sound, scenery, or stage management, if being in the limelight is not your thing. Contact us to learn more. Where will we perform? All 3 musicals will perform in FlynnSpace, the intimate blackbox theater downstairs. What s the rehearsal schedule? Camp-time rehearsals for Peach are be 8:30-3, Mondays-Fridays, June 20-July 1. Camp-time rehearsals for Lucky Stiff are 9-6, June (Sun-Tue only), and 12-5:30 weekdays July Camp-time rehearsals for Spring Awakening are 9-6, June 30 July 2 (Thu.-Sat. only), and 12-5:30 weekdays July Note for the older shows: Call times may be staggered on any given day, and any cast member may be called at 10 am in the last 2 weeks. Also, expect significant numbers of advance rehearsals in May and June, generally held Friday evenings, and on weekends. What s the show schedule? Peach runs Friday, July 1 at 4 pm & 7 pm, Saturday July 2 at 1 pm & 4 pm. Lucky Stiff runs July (7pm Thu, 7pm Fri, 2 & 7pm Sat, and 1 & 6pm Sun.) Spring Awakening runs July (7pm Thu, 7pm Fri, 2 & 7pm Sat, and 1 & 6 pm Sun.) What if I can t make all the rehearsals? Because these are ensemble shows, everyone relies on everyone else - so you ll need to be committed to the rehearsal schedule. If you have a conflict, list it on the form and we ll see if it might be manageable. If you re going to miss a whole day or multiple days, we will probably not be able to cast you. BE HONEST AND THINK AHEAD, because what you write on the form is firm our casting decisions are based on being sure that you will have enough time to learn the role assigned, and for your cast-mates to have enough time to rehearse with you present. You may not change your camp week availability after casting. Doing so may mean forfeiting your role, or your presence in certain scenes and songs. What s the tuition? Do I pay now? Tuition is $695 for the older shows, and $595 for Peach (It s a shorter week.) You do not need to pay now. At auditions you will be asked to provide your credit card # (or a check) for a $350 deposit on tuition. The remaining tuition will be due June 1 st. Payment plans are available to split your tuition into multiple installments. Limited scholarships are available for students whose families cannot afford the full tuition. Please inquire about either form of aid at or flynnarts@flynncenter.org. When are auditions? Ages may audition Friday, March 11 th to be considered primarily for Peach. Ages audition Sunday March 13 th to be considered primarily for Lucky Stiff & Spring Awakening (14+), and secondarily for Peach (ages only). College students may audition on Saturday Jan 2 nd while home for the holidays. Please sign up for an audition time slot by calling , or ing flynnarts@flynncenter.org. We decide how many audition time slots to run based on the numbers of students signed up, so we need to know if you are coming! When are callbacks? Peach Callbacks: Friday, March 18 th at 4pm. Lucky & Spring Callbacks: Sunday March 20 th, starting at 10am, with staggered times. How old do I have to be to audition? You must be as of opening night for Peach, years old as of opening night for Lucky Stiff, years old as of opening night for Spring Awakening. 2

3 Do I have to audition 2 times for the 2 shows? No, you are coming to one audition. We will be casting you based on which show best fits you, and which of you best fit the different shows. You may be called back for multiple shows, as we work out the casting puzzle. What kind of performers are you looking for? We re seeking performers who act, sing, and can move with energy. Not everyone needs to be a dancer, as some of the movement is more expressive staging than dance although we will always make good use of any dancers who are cast! There is more dancing in Lucky Stiff than in Spring Awakening. At the audition, we are looking for you to interpret a character with clear choices about what he/she wants, what he/she is doing in order to get what he/she wants, and how he/she speaks and moves that distinguishes the character as unique. Those choices should be evident not just in your reading, but in your singing and dancing too. It is musical theater, which means it s always theater even when we re moving or making music! Can I be cast in more than one show? The main purpose of having multiple shows is to provide lots of opportunities for more young performers. Our intent will be to first find the right cast for each show, maximizing opportunities. We have occasionally cast someone in multiple shows as an exception to the rule, and only because they brought something that was essential to both shows, and because there was not anyone else not getting cast who was missing out on the opportunity to play that role. What if I only want to be in a certain show (or shows)? You will be able to indicate on your audition form if you only want to be considered for a certain show(s). We understand that schedules might only permit one or another, or that you may have a specific interest in one or another. BUT be sure that you have asked yourself whether you d rather get NO ROLE AT ALL than a role in your second or third choice show. In the past some students have not been cast at all because they did not want to be considered for the show in which we would have cast them, and they were not right or there was not room for them in the show they asked to be considered for. Some of them have later told us that they were kicking themselves for not being open to both shows. Be smart about seizing opportunities. We aim to equalize the experience and skill sets in all our summer shows, so we promise a great social, learning, and performance experience in all. Our casts have often found that a show they did not know in advance (13, Zombie Prom, Carrie, Drood) became an absolute favorite. As a young performer, say yes to opportunity! You never know what doors it will open in the long run. But I want to be in the same show as my best friend! We know that there are a lot of good friends who wish to be in the same show, but we remind you that many of you became friends through one of our shows or show choir, and that there are new great friends to be made, in whichever show you might be cast. If you live at a great distance from rehearsals (Stowe, Montpelier, Canada, New Hampshire) and rely on getting a ride from someone else in the same area, please note on your audition form the area in question. We can t promise to cast you in the same show as the ride you re accustomed to, but we can try to be attentive to whether or not there is anyone in that general vicinity cast in the same show. If you absolutely cannot do a show without a carpool ride, we need to know that note it on your form. At auditions do we sing? Yes. In order for everyone to feel comfortable with the songs before auditions, we will upload the sheet music to our website. The links should be right below the link for the audition packet. If you don t see them, check back in a week or so. And remember two things: Not everyone needs to be a solo singer; try to relax and give it your best shot. Second, your singing audition is an acting audition too. Express the character s wants through clear physical and expressive choices. Know who you are singing to and why. Be specific! It will help. Junior auditions will be very gentle and relaxed. At auditions do we dance? We ll learn some movement/dance together, but not everyone needs to be a technical dancer. There will be room for dancers and non-dancers alike. What we really want to see is if you can let go of your nerves and inhibitions to express yourself physically, with attitude and energy! Also important: paying attention and trying hard. We have a lot to create in only a few short weeks, so we need people who will focus and concentrate when there s material to be learned. We will aim to find ways for skilled dancers who are cast to be able to exercise those skills in the shows. 3

4 At auditions do we act? Absolutely, and always! You will be given sides (portions of the script) to perform. You will be able to choose from a few options when you arrive at registration, so if you need to take a little time to read them through and familiarize yourself, please arrive early. These readings give you the opportunity to act as if you already have been cast in the role. No matter what happens in casting, nobody can take away from you the chance to perform those roles AT auditions. So have fun trying on the different characters! And remember to make clear choices about how the character moves and talks, as well as what the character wants (objective), and what they are doing in order to GET what they want (tactics). Do I have to stay at auditions the whole time? Yes. We will give parents an estimated end time when we meet in the morning, but ask understanding of the unpredictability of audition length. We know there is a show at CVU on the 13 th, and will adjust as needed for that cast. What should I wear? Wear something comfortable that you can bend and move in. Tight jeans are not a good idea. Neither are flip-flops. Sneakers are fine, no need for dance shoes. How do callbacks work? Peach Callbacks are Friday, March 18 th at 4pm. Lucky & Spring Callbacks are Sunday March 20 th, starting at 10am, with staggered times. Please hold these times open. Not getting a callback does not mean you won t be cast. Neither does getting a callback mean you WILL be cast. Nothing is certain until casting decisions are posted. At callbacks you may be asked to sing or act more specific material, with directorial adjustments. When will I hear if I got into a show? We will post the cast lists by 7pm on Monday, March 21 st, on the Flynn Center for the Performing Arts Facebook page and on All cast tuition deposits will be cashed/charged on Tuesday morning, March 22, and you will be committed to the program at that time. If you have questions or concerns about a role, you will need to communicate with Christina Weakland on Monday before 9pm at But please note that we should know your casting limitations in advance. Changing your mind later is like stabbing another auditioner in the back. Someone who might have had your role will have been rejected, or given a smaller role. Don t do that to your peers. Think in advance of all the possibilities, and be clear on your form about what your casting limitations are. I don t want an onstage role. Do I still come to auditions? No, you should simply us at flynnarts@flynncenter.org to let us know your interests and background in technical theater. We need to know those things in order to see if we can meet your needs and interests sufficiently. Oh no! I can t make the audition date! Call us at or flynnarts@flynncenter.org and we ll see if there are any other possibilities. We can t promise anything, except that it is always wiser to make arrangements to attend auditions at the scheduled time if at all humanly possible. That way every member of the team sees you in action, live, in person! Do I really have to get a parent to sign my form? Yes. You may be totally self-sufficient and the decision to audition may be entirely yours, but we need to know that your parents are on board for both the schedule and the tuition. A parent/guardian MUST sign your form. Wait, I ve got more questions! Please feel free to any questions to flynnarts@flynncenter.org SIGN ME UP! Hooray! Fill out the audition form on page 8 and send it to us at flynnarts@flynncenter.org as an attachment. If you d rather fax it, our number is , or you can snail-mail or drop it off at the Flynn s admin offices at 153 Main Street, Burlington, VT (the door with the black and white FlynnSpace marquee. Take the elevator at the end of the hall to the 2 nd floor). You WILL be able to make changes to your form on the day of auditions. 4

5 CHARACTERS IN JAMES & THE GIANT PEACH THE NARRATOR: Ladahlord is a mysterious older character who seems to have a hand in the magical things that are happening. He carefully watches over James, making sure James moves towards to a better life. We may consider an older student (over 14) for this role. THE FAMILY: James is a young person on an epic quest to find a family of his own and gain confidence in himself. Kind, smart and resourceful. We ll consider boys and girls. Spiker and Sponge are the sort of aunts (or monsters) that you fear ever being stuck with. They take James into their home but only so that he can be their own personal servant. Spiker is the brains of the operation, and Sponge is more concerned with finding something to eat. We are likely to consider older students (over 14) for these 2 roles. THE INSECTS INSIDE THE PEACH: Grasshopper, the leader of the Insects, is ever the optimist and assumes a fatherly role in James life. He has a warm, inviting presence. Ladybug Doting and motherly to James. She has a kind and regal demeanor. Spider is a clever creature who becomes like a fun-loving older sister to James. She has a spunky and fun personality. Earthworm is a gentle spirit, although he can be a bit of a coward. Earthworm looks at James as a brother figure. Centipede may be a bit of grouch, but he is ever-loyal to the pack, and by the end of the story, he s won over by James. James sees Centipede as that cranky uncle with a heart of gold. ENSEMBLE The Ensemble is responsible for creating each world within the show, and they have LOTS to do! They include: Angry Crowd, Cruise Ensemble, Sharks and Seagulls, New Yorkers, Screaming Women, Lucille Van Kooglestein, Bunny Mackenzie the Third, Jake and Joe FEATURED ENSEMBLE ROLES: Mr. Trotter, Mrs. Trotter, Karl Kreatour and the Zoo Crowd are all part of the James' nightmare. The Matron Nurse runs the Painswick Orphanage, and you definitely get a sense she hasn t had a vacation in years! Billy and Bobby Bobby-Cop are a perfectly unified pair of cops working for Scotland Yard. The Vagrants, including Doreen Driggles, Ridgley Rapscallion,Violet Funkschmeller and Chris Cryermouth are an ensemble of have-nots to support Spiker and Sponge s treacherous plans. The Passing Man, Man with Wallet and Passing Woman all have featured moments where they fall victim to Spiker and Sponge. The Reporters, including Ida Walters, are on the scene just as the peach is becoming larger than life. Bitsy Botana and the rest of the Ladies' Garden Guild are in flowery frocks and hats, intent on having Spiker and Sponge give the keynote speech at their conference. Hollywood Agents led by Buzz jump in on the success of the growing peach with movie and Broadway deals for Spiker and Sponge. Farm Animals, Willy Wonka and the Oompa- Loompas are all in harm s way as the peach outgrows its stem and rolls towards the ocean. 5

6 CHARACTERS IN LUCKY STIFF Harry Witherspoon: A shy, sweet-natured, and very insecure shoe salesman from England. He is terribly bored with his life but feels incapable of taking risks. The situation with his dead uncle s 6 million dollars gives Harry an opportunity to change all that with a very unique trip, and he really tries to fortify himself to make an internal change as well. Annabel Glick: A no-nonsense representative for the Universal Dog Home of Brooklyn. She, like Harry, has put all of her energies into her work since life outside of work has been terribly lonely and dull. Her intentions on the trip are entirely work-driven (get that 6 million dollars to help the dogs) but she is changed by her ongoing interactions with Harry, and discovers a new side of herself. Rita La Porta: A high-strung woman, married to Harry s uncle (a mobster) Rita is impulsive, erratic, and has terrible eyesight, but regularly refuses to wear her glasses out of insecurity that they make her look bad. She is brash, brassy, and bold, and on a desperate hunt for the 6 million dollars. Vinnie DiRuzzio: Rita's mild-mannered brother is an optometrist with predictably conservative tendencies. He is dragged into her mess, and we get the sense that this happens a lot for him. His sister s a mess, his wife is furious, and the mob have a hit on him so he s understandably anxious and terrified throughout the course of his adventure. Luigi Gaudi: Luigi is a mysterious, boisterous, thickly-accented Italian on vacation in Monte Carlo, who wears a beard and an eye patch. He befriends Harry early on in his adventure, and takes him under his wing as a sort of tour guide. Dominique du Monaco: A French showgirl and headliner at the casino in Monte Carlo, Dominique is fully aware of her star power and sexual magnetism. She is a terrific singer and dancer who can hold the crowd in the palm of her hand! Voice of Tony Hendon (Uncle Anthony): Tony was Harry s Uncle and Rita's lover, from New Jersey. He leaves a will in the form of a cassette tape, thus his thickly accented voice regularly tells Harry what to do next in Monte Carlo. Dead Body: The stuffed body that Harry wheels around Monte Carlo through much of the show is actually not as easy a role as it seems, as he has to react to external forces, keep a constant straight face, and tap dance in Harry s nightmare! Can double as Commuter on Train. Ensemble: This is a show wherein ensemble members are constantly switching costumes, characters, accents and physicalities, to take on vastly different roles in England, New Jersey, and Monte Carlo. Most of those listed below have lines, solos, or featured visual gag moments throughout, so all ensemble members need to be strong singeractors with comedic chops. Fearless and distinctive characterizations are what make this show work. Tentative, subtle performances will not fly. The ensemble characters include: IN ENGLAND: Surly Lorry (Bus) Driver, Commuters on Bus/Subway Landlady Spinsters at the Boarding House Punks at the Boarding House Telegram Deliverer Solicitor (Lawyer) Miss Thorsby the Secretary IN NEW JERSEY: Mr. Loomis the Eye Patient Puerto Rican Nurse ON THE TRAIN: Prosperous Man on Train French Waiter on Train Stationmaster's Voice Southern Ladies IN MONTE CARLO: Clothing Salesman Dominique s Emcee (has a song) Croupier Nun Old Texan Bellhop French Waiter in Club Dapper Gambler Leper Drunken Maid Dancing Portrait Dancing Roulette Wheel 6

7 CHARACTERS IN SPRING AWAKENING The teen characters in Spring Awakening are wrestling with very real and very challenging emotional realities: sexual awakenings, guilt and shame, abuse, fear of failure, despair, suicidal thoughts, pregnancy, abortion, delinquency, grief. Students auditioning should feel sure they are ready to live in this world for three weeks, that they can talk and express themselves comfortably about these issues in a group of peers, and that they will not be triggered by the content. THE GIRLS Wendla: Innocent, just on the cusp of womanhood. With every passing day, she grows more curious about the world around her and her changing body. She is both vulnerable and a willing participant in her evolution. Explores her newly-found sexuality with Melchior. Martha: A schoolgirl who faces constant physical and sexual abuse from her father, and who has learned to keep silent for fear of inciting worse. She harbors a secret crush towards Moritz, perhaps because he seems gentle and harmless - safe. Anna: A schoolgirl and Martha's best friend. Optimistic and a bit naive, she has a difficult time understanding Martha's trials, because she has never encountered anything like it it s so far from her frame of reference. Ilse: A young woman who was also abused and has run away from home to live in an artists' colony. She is likely living well beyond her emotional wherewithal, using alcohol, drugs, and socializing with adults much older than she is. She reaches out to her old friend Moritz in the last moments of his life, but he is unable to seize upon her kindness. Thea: Wendla's best friend. A schoolgirl who is fairly innocent, and consciously trying to stay pure. She enjoys fashion and has a crush on Melchior. Schoolgirls: We will flesh out the schoolgirl ensemble with some additional characters. THE BOYS Melchior: An uber-intelligent, headstrong boy who refuses to bow down to society's rules. An atheist and radical student, he thinks he can understand things through books and through study, but his unexpectedly intense feelings for Wendla surprise him, and his urges toward her cause him a great deal of confusing emotional struggles. Moritz: Melchior's best friend, a struggling student. He desperately tries to please his father, but is burdened with feeling like a constant disappointment. His academic failures, on top of his haunting sexual dreams (which he is NOT ready to come to terms with) eventually drive him to despair and suicidal thoughts. Hanschen: A rather narcissistic schoolmate of Melchior's. He is comfortable with his own sexuality and uses his looks and intelligence to captivate Ernst. Possible Doubling as RUPERT. Ernst: A schoolmate of Melchior's. Naive and easily manipulated, which allows him to fall in love with Hanschen. Possible Doubling as REINHOLD. Georg: A clumsy schoolmate of Melchoir's. He is overcome with his feelings for his piano teacher. Optional Possible as DIETER. Otto: A classmate of Melchior's. He struggles with feelings he considers inappropriate. Possible Doubling as ULBRECHT. The Delinquents: Rupert, Reinhold, Dieter, and Ulbrecht live at a home for delinquent boys, to which Melchior is sent. The try to out-tough each other, as an act of self-preservation. THE ADULTS: 1-3 Women and 1-3 Men play a variety of adult authority figure roles. We will be considering students 19 and under as well as adults 20+ for these roles. Female characters include: Frau Bergman (Wendla's mother) Fraulein Knuppeldick (School Administrator); Fraulein Grossebustenhalter (Georg s piano teacher), Frau Gabor (Melchior's Mother), Frau Bessell (Martha's Mother), Frau Stiefel (Moritz s Mother), and Schmidt (Back-alley abortion provider). Male Characters Include: Herr Sonnenstitch (the boys' teacher) Headmaster Knochenbruch, Herr Neumann (Ilse's Father) Herr Rilow (Hanschen's Father), Herr Steifel (Moritz's Father), Father Kaulbach (priest); Doctor Von Brausepulver, Herr Gabor (Melchior's Father). 7

8 AUDITION FORM Circle the shows we can consider you for: PEACH LUCKY STIFF SPRING AWAKEN. (11-14)* (13-19) (14-19)** Note: If you only circle one show, WE WILL NOT CONSIDER YOU for the other show. Be sure you have asked yourself whether you d rather get NO ROLE AT ALL than a role in the other show. (In years past, most auditioners who were not cast at all circled only one show, limiting their options.) Please note whether you would be available/interested in more than one show, should casting go that way: *We may consider ages 15+ for the roles of Spiker, Sponge, & Narrator. Do you want to be considered? YES NO N/A **We may consider ages for offstage singing support in Spring Awakening. Would you accept? YES NO N/A Name: Age: Date of Birth: Student Parent Do you have any casting limitations that we should know about? (Carpoolers, Exes, Shows, Roles ) Do you have any health issues or allergies that we should know about? If YES, please describe: Please check each box below to confirm that by auditioning you are making a commitment to: Attend ALL camp-time rehearsals in the summer for 2 (Peach) or 3 (Stiff/Spring) weeks. Arrive early or stay late during the camp period for extra rehearsal, if requested. Attend preliminary rehearsals on weekends in May, and/or June, as needed. Attend all performances. Participate in strike following the last show. List any and ALL conflicts with the summer camp dates listed above and ALL Fridays, Saturdays, and Sundays in May, & June. (You do not need to list Show Choir.) Conflicts for camp weeks given to us after casting will not be honored and could result in losing your role. Conflicts for May & June given to us after casting may not be honored, and could result in losing your role. This includes deciding to do a spring show that is not listed below without giving that show the weekend conflicts for Flynn shows. In other words, anything not listed below you are reserving for Flynn rehearsals until the advance rehearsal schedule comes out. Contact us with questions, should any arise. Tell us about your theater, dance, tech, vocal experience, and special skills. Nothing s too silly or too small! What appeals to you about participating in our summer youth theater program? PARENTS READ/SIGN: I have read and understand the packet of show and audition information. I realize that participation in this camp/show is both a time commitment and a financial commitment. I agree to fulfill all obligations. If my child is auditioning for Spring Awakening, I have looked into the show, understand the sexual and emotional content, and give permission for him/her to participate in the kinds of conversations and stagecraft that will necessarily follow. Student Signature: Parent Signature: (A PARENT MUST SIGN THIS FORM BEFORE AUDITIONS.) This is the AUDITION FORM. You must also fill out the REGISTRATION FORM, either online or by printing out the PDF. Please include a check or credit card number for $ tuition deposit. If your child is cast, your check will be cashed or your card charged on 3/22/16. Your remaining balance is due June 1. Payment plans are available. Parents with questions or concerns about Spring Awakening, please feel free to talk with Christina at cweakland@flynncenter.org. 8