AUDITIONS. Supa Productions Inc is proud to present. Rodgers & Hammerstein's THE KING AND I

Transcription

1 AUDITIONS Supa Productions Inc is proud to present Rodgers & Hammerstein's THE KING AND I Music by RICHARD RODGERS Book & Lyrics by OSCAR HAMMERSTEIN II Based on "Anna and the King of Siam" by Margaret Landon Original Choreography by Jerome Robbins Director Fiona Hale Musical Director Rose Shorney Choreographer Jamie Winbank Auditions are open-call to all and all roles are open for consideration. Information Afternoon Saturday 16 May 2015 at Cook Community Hub, Templeton Street, Cook 1.00pm for all 2.30pm for children and their parents Auditions for all performers (actors/singers/dancers) Friday 22 May, Cook Community Hub 7-8pm Movement for all adult auditionees 8-9pm Dance for all adult dancers Saturday 23 May at Cook Community Hub 10am-1pm Adults singing and acting 2-3pm Children singing as a group 3-4pm Children dancing 4pm Children auditions for children wishing to try out for the roles of Louis, Prince Chululongkorn and Princess Ying Yaowalak Sunday 24 May at Cook Community Hub 11am-6pm Adults singing and acting Call Backs If required, call backs will be held on Monday 25 May and/or Thursday 28 May.

2 Who am I auditioning for? You will be auditioning privately in front of a panel made up of the Director, Fiona Hale; Musical Director, Rose Shorney; and Choreographer, Jamie Winbank who will be assessing your acting, singing and dancing skills. In addition, Supa President and production manager for this show, Jenny Wookey will be present to ensure the audition process is completed fairly. How many people are we casting? There are eight main roles, five supporting roles, various small singing roles, an ensemble of men and women and approximately 16 children. When will I find out if I have been cast in the show? We hope to have cast the show by the end of the call back process. We undertake to phone everyone who auditions by the end of Sunday 31 May Will there be Call Backs? We will be conducting call backs if required. We may find at the end of the audition process we are able to cast the show based on audition only. If we need to see you for a call back, you will be notified. If you do not get a call from us, that doesn t mean you re not in the show. We use the call back process to assist in the decision making, not as an opportunity to call the proposed cast in to see how they look together. What can I do if I forgot to tell the panel something? If after the auditions, you realised you forgot to inform us of something, or needed to add or confirm information on your application form, you can contact us at supaproductions@yahoo.com.au. How do I book an audition? Phone Jenny: after 7.00pm on week days, or on the weekend OR supaproductionscanberra@gmail.com. Audition Requirements The King and I has a lot of varied vocal and acting roles; we will be looking for singing, acting skills, characterisation, voice projection and ease of movement when you audition. This is a major production please come to auditions WELL PREPARED! It is in your own interests to present yourself well. And please don t apologise for having a cold or other illnesses. Just do your best and enjoy performing for the audition panel! Singing All performers need to prepare a song that showcases your vocal talent. Auditionees must provide sheet music in the correct key. The musical director will be available to play for all vocal auditions. Please have the section you are singing clearly marked. Backing tapes and CDs are permitted; singing unaccompanied is not permitted. Be sensible when choosing your song avoid singing a long introduction if the chorus is the part that shows off your voice best. Don t choose music impossible to play or sing. Remember, your time with the audition panel is limited use it to your advantage! You can sing a song of your own choice, but it must be in the vein of an older Broadway musical, eg South Pacific, My Fair Lady, Oklahoma, Carousel, etc. Please do not sing a song from The King and I, except if you are auditioning for the children s chorus, Louis or Prince Chululongkorn. You may not be required to sing all of your song this is because the production team will have heard what they need to hear. Your vocal range will also be checked.

3 Acting Once you have booked an audition, the appropriate script excerpts will be ed to you. Please prepare the section of script set out for that character/s. An English accent is required for the roles of Anna, Louis, Captain Orton and Sir Edward Ramsay. The script has been written for all other roles in a style that indicates a Siamese accent. Please use an underlying neutral English accent and read in a slightly clipped fashion. Avoid any hint of an Australian accent. Do some research BEFORE the audition and be prepared to speak with the correct accent. Dancing While dance is not a major component of The King and I, you must be able to move confidently to be considered. Note that all adults are required to attend the movement auditions on Friday 22 May from 7-8pm. If you are a dancer only, you will still be expected to sing at auditions we need to know your vocal talents too! For your dance or movement audition, you will be taught a choreographed sequence to music from the show. In small groups you will perform what you learned. The panel will be looking at how you move to the music, pick up choreography and your performance ability of the movement. If you make a mistake, just keep moving and pick up where you can. Depending on the character and/or requirements, the director or choreographer may place you with different people or groups within the audition. Movement abilities are a must, however previous dance experience is not essential for most roles. There will be a chorus of both male and female dancers that will be prominently featured in The Small House of Uncle Thomas sequence these may be cross cast in other roles. We will also be appointing the Dance Captain quite early on, so please notify if you are interested in this role. When and where are rehearsals? Rehearsals run from Sunday 14 June 2015 through to Sunday 13 September. Mondays and Wednesdays at Cook Community Centre, Templeton Street (the old Cook primary school) from 7-10pm Sundays at Curtin Primary School, Theodore Street, Curtin from 1-5pm From Monday 14 September, when the production moves into the theatre, it is possible some cast will be required for extra rehearsals. From Sunday 20 September, rehearsals will be held every evening up to opening night on Friday 26 September. A cast and production team contact list and rehearsal schedule for the first two months of production will be ed to you after the cast list is finalised. Production Dates The King and I will be performed at the ANU Arts Centre, Union Court, ANU, for 12 performances : Friday 25 September 8pm Saturday 26 September 8pm Wednesday 30 September 8pm Thursday 1 October 8pm Friday 2 October 8pm Saturday 3 October 2pm

4 Saturday 3 October 8pm Wednesday 8 October 8pm Thursday 9 October 8pm Friday 10 October 8pm Saturday 11 October 2pm Saturday 11 October 8pm Synopsis Set against a dazzling and exotic backdrop, The King and I is the moving story of Anna, an English governess, who tries to help an Eastern king to come to terms with the modern world. The conflict between Eastern and Western cultures inspired this well-loved musical, which has been revived professionally many times and is always a firm favourite with the public. The score includes "I Whistle A Happy Tune", "Hello Young Lovers", "Getting To Know You", "Something Wonderful" and "Shall We Dance?". The Story Anna Leonowens, a young English widow, arrives with her son Louis in Bangkok, capital of the Kingdom of Siam, in the early 18s. She has been engaged by the King to teach English and Western ideas to his family of many wives and many more children. Anna tells Louis how she will bravely face the dangers before them (I Whistle a Happy Tune) - and indeed she doubts whether her decision to come was right. At Court, her Western ideas quickly conflict with oriental traditions. The King's proclaiming of his belief in Western ideals does not stop him accepting a slave girl Tuptim as a gift from the King of Burma. Tuptim is repelled by him (My Lord and Master) and loves Lun Tha, the man who escorted her to Bangkok. When Anna meets the King, her doubts turn to anger when she discovers he has chosen to forget his various promises concerning salary and particularly that he had promised her a brick house next to the palace. She is only prevented from leaving by meeting the King's enchanting children (The March of the Siamese Children). She decides to stay; and the royal wives are keen to hear of the differences between their two cultures, and the similarity when it comes to love and family (Hello, Young Lovers). Anna instructs the royal children, the King's wives, even sometimes the King himself (Getting to Know You). They learn of the outside world, and wonders like snow, ice, and individual freedom. The King is fascinated, yet troubled, by these ideas (A Puzzlement). Anna has meanwhile befriended Tuptim and lent her the new American novel 'Uncle Tom's Cabin' but she is worried that Tuptim and Lun Tha are meeting secretly (We Kiss in a Shadow). Anna admires the King's strengths, but his stubbornness infuriates her. Lady Thiang, the King's first wife understands this and counsels patience, for she sees how much the King and Anna need each other. For all his stubbornness, pride and occasional cruelty, Lady Thiang says, he can sometimes do Something Wonderful. The King learns that a British diplomat is on the way to Bangkok, obviously to assess the King's hold on his country. Anna cleverly suggests that a European dinner, with all the Court in Western dress, and with a suitable entertainment (which the intelligent Tuptim could devise) would give Sir Edward Ramsay an excellent impression of an enlightened and sophisticated society - and of the King, too. The King is so impressed with 'his own idea' that he rewards the strong-willed "Mrs. Anna" with a firm promise of the brick house, as in their agreement. The dinner is a great success; Tuptim's entertainment, a ballet entitled The Small House of Uncle Thomas (an outstanding feature of the score) will be her last act in Siam because Lun Tha has arranged an escape immediately afterwards, so they will be together for ever (I Have Dreamed). The 'subversive' message of the ballet's story worries the King momentarily, but Sir Edward's compliments and generous endorsement of his regime give the King great satisfaction.

5 The plan has worked. The King and Anna, alone, congratulate each other and in the mood of celebration he asks her to teach him the polka (Shall We Dance?) As they dance, we see how the growing friendship is rapidly ripening into sexual attraction, but the mood is shattered when news comes that Lun Tha and Tuptim have been caught escaping. The secret police kill him, and the King, suddenly no longer a Westernised monarch, prepares to punish Tuptim with the whip. Anna upbraids him for this regression to barbarism, which has spoiled everything he has been striving to achieve. His arm falls, the whip drops, but he realises that his absolute power has evaporated and he flees the room, a broken man. Anna realises that she has so humiliated the King that she must leave Siam, but she is stopped from embarking by a note from him - he expresses his gratitude for all she has done, but says he is dying. Shocked, she returns to the Palace and finds him on his deathbed surrounded by wives and children, who now beg Anna not to leave them. She is deeply moved and realises how much she loves them and how much they need her. The dying King commands her to take notes from his eldest son, Prince Chululongkorn, who will be the new King. The Prince, who has learned his lessons well from Anna, announces that there will no more bowing and scraping before him, but as his father dies and all present prostrate themselves, their obeisance is not only to the dead King but to the new one. Characters Name Range Sex Age About the Role The King Of Siam (huge stage presence, strong acting skills, Baritone (Range c - e') M A demanding and chauvinistic absolute ruler who nevertheless struggles with European philosophical ideas and desperately wants his kingdom to be seen as "scientific". Involvement: In many scenes. Polkas with Anna in Shall We Dance? competent A Puzzlement vocals) Song of the King Anna Leonowens (strong acting and vocal skills) Lady Thiang (strong vocals) Tuptim (strong vocals) or Mezzo- (Range b- d ) or high Mezzo- (Range c#' - g'') (Range c'- a# except for one note c - g ) F F F A young widow, in whose heart the pain of bereavement is still very strong. She is compassionate but business-like. Involvement: In many scenes. Waltzes with Sir Edward Ramsey and polkas with the King. Musical Numbers: Whistle a Happy Tune Hello Young Lovers Getting to Know You Shall I Tell You What I Think Of You? Shall We Dance? First wife of the King, who loves him very much; tries to protect him even though she cannot take direct action. Wise, composed and understanding. Involvement: In many scenes. Musical Numbers: Something Wonderful Western People Funny She is a present from the Prince of Burma to the King. A strong character with real emotional range. Involvement: In many scenes. My Lord and Master (solo) We Kiss In a Shadow (duet with Lun Tha) I Have Dreamed (duet with Lun Tha) The Small House of Uncle Thomas (narrator)

6 Name Range Sex Age About the Role The Kralahome Nonsinging role M 45- The King's principal advisor; a hard and bigoted official who cannot understand why his master is flirting with Western ideas. Involvement: In several scenes. None Lun Tha (strong vocals) Louis Leonowens Principal child role (capable actor/singer) Prince Chululongkorn Principal child role (capable actor/singer) Captain Orton (also Male The Interpreter (also Male Phra Alack (also Male Sir Edward Ramsey (also Male Princess Ying Yaowalak (part of Children s Chorus) Royal Princes and Princesses (Children s Chorus) Tenor or high baritone (Range c - g') Alto (Range g - b') Alto (Range g- a') singing singing singing singing Singing role (Range eb' - g'') Singing roles (Range eb' - g'') M M M M M 18- M 18- M The Emissary from the Prince of Burma who has brought Tuptim to the King of Siam. Is in love with her. Involvement: In several scenes. We Kiss in a Shadow (duet with Tuptim) I Have Dreamed (duet with Tuptim) Anna's teenage son, keen to acclimatise to the strange lifestyle at an Eastern Court and fiercely fond of his mother. Involvement: In many scenes Whistle a Happy Tune A Puzzlement (duet with Prince Chululongkorn) The heir to the throne, whose mixture of filial piety and awareness of the need to change are partly a result of Anna's teaching and partly inherited from both his parents. Brought up to imitate his father's autocratic ways, but with his own self-doubts. Involvement: In many scenes. A Puzzlement (duet with Louis) Captain of the ship Chow Phya. Involvement: Appears in opening and closing scenes only, and may be cross cast. Has some lines. Interpreter for the King Involvement: Appears in opening and closing scenes only, and may be cross cast. Has some lines. Secretary to the King. Involvement: In several scenes. Has lines. English diplomat and former friend of Anna and her husband. An important player in the diplomatic game for the friendship of Siam. Involvement: Appears in only Act II, and may be cross cast. Waltzes briefly with Anna. Has lines. F 8-12 Cute, young loveable daughter of King Involvement: In several scenes. Has a few lines. Marches in March of the Siamese Children. Singing always as a group. Getting to Know You M/F 6-12 Involvement: In several scenes. Singing always as a group, with individual acting and a few lines. March in March of the Siamese Children.

7 Name Range Sex Age About the Role Getting to Know You Royal Dancers (from Male and Female Nonsinging roles M/F 16- Prominently featured in The Small House of Uncle Thomas Ballet. Both male and female dancers needed. Will be cross cast in other roles. Involvement: Act I/Scene 2 - Dance for King Act I/Scene 4 - One principal dancer Act II/Scene 3 - Small House of Uncle Thomas One of these dancers will be appointed as Dance Captain. Royal Wives (part of Female Priests (part of Male Amazons (part of Female Musical Numbers: Act I (Range c' - g''. In the Ballet, sopranos c' - a''; altos c' - f'') (Range d - d') singing, ranges as Wives F M F 30- Wives of the King. Involvement: Prominent in many scenes as a group; some individual dialogue lines; Present at "The March of the Siamese Children". Musical Numbers: Getting to Know You Western People Funny The Small House of Uncle Thomas Buddhist Priests Involvement: In two scenes. Will be cross cast as guards, slaves, and townspeople. Female slaves Involvement: In several scenes. Can be cross cast in other roles. 1. Overture 2. Opening Act I (Arrival At Bangkok) 3. I Whistle A Happy Tune - Anna, Louis 4. Incidental For Dialogue (Entrance Of Kralahome) 5. Exit: I Whistle A Happy Tune 6. Vignettes And Dance 7. My Lord And Master - Tuptim 8. Incidental For Dialogue 9. Hello, Young Lovers - Anna 10. Encore: Hello, Young Lovers 11. The March Of Siamese Children 12. Postlude To The March Of Siamese Children 13. Scene Before Curtain (Priests And Children) 14. A Puzzlement - King 15. School-Room Scene - Children And Wives 16. Getting To Know You - Anna, Wives & Children 17. Incidental (King) 18. We Kiss In A Shadow (Tuptim And Lun Tha) 19. Reprise: A Puzzlement (Prince And Louis) 20. Shall I Tell You What I Think Of You? - Anna 21. Something Wonderful - Lady Thiang 22. Change Of Scene (Pantomime) 23. Reprise: Something Wonderful - Lady Thiang 24. Change Of Scene (Postlude To "Something Wonderful") 25. Scene (Anna And King Planning Party) 26. Fireworks

8 27. Finale Act I - Company Act II 1. Entr'acte 2. Opening Act Ii 3. Western People Funny - Lady Thiang And Wives 4. Exit Of Wives 5. Dance Of Anna And Sir Edward 6. Exit Of Anna, King And Sir Edward 7. Incidental "We Kiss In A Shadow" 8. I Have Dreamed - Lun Tha, Tuptim 9. Reprise: "Hello, Young Lovers" - Anna 10. The Small House Of Uncle Thomas (Ballet) 11. Postlude Of Ballet 12. Incidental (Change Of Scene) 13. Song Of The King - King 14. Shall We Dance? - Anna, King 15. Melos: My Lord And Master 16. Processional 17. Reprise: Something Wonderful (Letter Reading) 18. Polka Doloroso 19. Reprise: I Whistle A Happy Tune - Anna 20. Finale Ultimo 21. Exit Music Your Obligations Members of the cast will be required to reach a satisfactory standard within six weeks of commencement of rehearsals, otherwise they may be replaced. If you are offered a position in the cast of The King and I, please remember that you are making a commitment to complete the rehearsal period and theatre season. Supa Productions views this commitment to the company and your fellow performers very seriously. Please do not accept a role if you intend auditioning for another company or accepting a professional or non-professional engagement elsewhere. All members of the cast must be available to perform for every date of the theatre season including all theatre rehearsals. Attendance at rehearsals, photo shoots, sitzprobe, bump in and bump out is compulsory. Please note that as Supa Productions Inc produces shows on a volunteer, recreational basis, we do not pay actors or musicians under any circumstances.