10-14 JULY 2018 GREAT HALL AT THE LEYS

Transcription

1 SWEET CHARITY BOOK: NEIL SIMON MUSIC: CY COLEMAN LYRICS: DOROTHY FIELDS JULY 2018 GREAT HALL AT THE LEYS INFORMATION PACK

2 CONTENTS Official Overview...2 Creative Team...2 Director s Vision...3 Cambridge Theatre Company 4 Audition Dates...5 CTC s Priscilla Queen of the Desert Format of the Auditions...5 Key dates and Performance dates 6 Rehearsal dates...6 Production fee...6 Sweet Charity Characters...7 Monologues for Principal Auditions 9 Music for the Auditions CTC s Les Misérables School Edition 1

3 SWEET CHARITY CREATIVE TEAM Director & Choreographer David Mallabone Musical Director Paul Garner CTC s Goodnight Mister Tom CTC s Les Misérables School Edition OFFICIAL OVERVIEW Sweet Charity follows the always poignant and often-funny misadventures in love encountered by the gullible and guileless Charity Hope Valentine, the ever-hopeful taxi dancer who consistently gives both her heart and her earnings to the wrong man. Charity sings, dances and cries her way through a series of brief romances until she finds herself stuck in a lift with the shy, nervous Oscar Lindquist. Has Charity finally found her match? Assistant Director Samantha Billing Produced by Louis Ling for Cambridge Theatre Company The show sparkles with an iconic score by Cy Coleman and witty lyrics by Dorothy Fields and features musical standards The Rhythm of Life, If My Friends Could See Me Now and the unforgettable Big Spender. Join Cambridge Theatre Company for Sweet Charity, a classic musical in every sense of the word, and spend a little time with Charity. 2

4 DIRECTOR S VISION David Mallabone, Director I choreographed my first full production 24 years ago and in that time I have choreographed or directed a variety of classic musicals such as Guys and Dolls, My Fair Lady, Pippin and most recently, Priscilla, Queen of the Desert for CTC. But in all this time I have never revisited a show. Until now. I first choreographed a production of Sweet Charity ten years ago. The score is stunning and from the iconic opening bars of the overture, which trumpet the unmistakable introduction to Big Spender, the music is at the heart of this show. However, it is easy to underestimate the power of the story. The tale of Charity Hope Valentine, based on Fellini s screenplay Nights of Cabiria, is by turns funny, poignant, joyous and heart-breaking. Through it all, Charity never loses her optimism and, whilst the audience can marvel at her hope in the face of terrible adversity, she never loses sight of that better future. I would like this CTC production of Sweet Charity to really pull at the heartstrings of the audience and emphasise the juxtaposition between Charity s situation and her almost eternal optimism. But I want us to show Charity s humanity and vulnerability for me, she is not just a simple fool, which is an easy way to play her, but one of life s good guys who always tries to see the best in people and in her situation. Often at her own expense. Those who have worked with me before will know my devotion to the work of Bob Fosse. For me, Fosse s Rich Man s Frug from the film version remains one of the most sublime pieces of musical theatre choreography it is possible to witness. So my vision is that we can pay homage to the work of Fosse whilst producing our own take on some of the best songs in musical theatre. Big Spender provides an exciting challenge for any musical theatre performer. There s Got To Be Something Better Than This is fizzing with life and energy, Big Spender is a musical piece of sardonic overview of the dance hall business and The Rhythm of Life is a tour-de-force for ensemble singing and staging. Ultimately, I want the audience of CTC s Sweet Charity to leave the theatre having cheered, laughed and cried with Charity Hope Valentine. 3

5 CTC s Goodnight Mister Tom CTC s Priscilla Queen of the Desert CAMBRIDGE THEATRE COMPANY CTC s Les Misérables School Edition Louis Ling founded CTC in the Summer of 2015 and produced The Addams Family, Monty Python s Spamalot in 2016 at the ADC, and with Goodnight Mister Tom in the same year at our new home, Great Hall at The Leys. In 2017, Louis programmed the season with Priscilla, Queen of the Desert, Les Misérables School Edition, and James and the Giant Peach. CTC is now working on producing it s biggest season in 2018 with shows such as Sweet Charity, Dead Man s Cell Phone, West Side Story, Little Women and Roald Dahl s The Twits. CTC s Priscilla Queen of the Desert 4

6 INTRODUCTION EVENING & AUDITION DATES INTRODUCTION EVENING Come and meet the team behind CTC next show, Sweet Charity Sunday 17 December pm Great Hall at The Leys (follow the signs for the Great Hall). AUDITIONS Friday 26 January pm - 10pm CSVPA Dance Studios, Sturton Street, Cambridge CB1 2QG (corner of New Street and Sturton Street) Sunday 28 January pm Haslingfield Village Hall, New Rd, Haslingfield, Cambridge CB23 1JP Tuesday 30 January pm 9.30pm CSVPA Dance Studios, Sturton Street, Cambridge CB1 2QG (corner of New Street and Sturton Street) You ll be sent a time for your individual audition about a week before the audition date. FORMAT OF THE AUDITIONS The auditions will start with an introduction by the team. This will be followed by a dance workshop led by David Mallabone. This will last no more than 30 minutes. After that, in timed audition slots, there will be individual singing and acting auditions for the Ensemble and for Principals. Please wear comfortable clothing for the audition. If you have any questions regarding the level of movement before the audition please contact, David Mallabone, at auditions@camtheatrecompany.co.uk A full rehearsal schedule will be sent out about 6 weeks before the first rehearsal. It s important to give us any dates for which you will be unavailable. Please indicate these on the audition form, which you ll hand in at your audition. This will assist us with preparing the rehearsal schedule. To request an audition slot, us at auditions@camtheatrecompany.co.uk. Mention your preferred audition session and whether you wish to audition for a principal or ensemble role. 5

7 KEY DATES REHEARSALS PERFORMANCES Tuesday and Friday rehearsals will run Tuesday 10 July, 7.30pm (call at 6pm) from 7:30 to 10:00pm with some Sunday Wednesday 11 July, 7.30pm (call at 6pm) rehearsals during the day in Cambridge. Thursday 12 July, 7.30pm (call at 6pm) Rehearsal venue will be announced in due Friday 13 July, 7.30pm (call at 6pm) course. Saturday 14 July 2.30pm & 7.30pm (1pm call). Monday 9 July Dress Rehearsal, call at 6pm REHEARSAL SCHEDULE APRIL MAY JUNE JULY Tue Fri Sun Tue Fri Sun Tue Fri Sun Tue Fri Sun PRODUCTION FEE In Cambridge many groups charge a production fee to assist with costs for the production. This will be 45 for Sweet Charity. This fee will also cover a show shirt. Additionally we require all actors to have a professional headshot that will be used in the programme and the marketing campaign. The charge for this will be 35. It can be used for future productions. If you have one already which is good quality, please send it to office@camtheatrecompany.co.uk for approval once you have been cast in the show

8 SWEET CHARITY CHARACTERS Please note that the ages listed just serve as a guide. All roles are available and casting is open. Newcomers to Cambridge Theatre Company are welcome and encouraged. PRINCIPALS (FEMALE): CHARITY HOPE VALENTINE LEAD. Playing age of Mezzo soprano. Very strong character actor with strong singing (able to sing a variety of styles) and very strong dancing ability. NICKIE SUPPORTING. Playing age of Mezzo soprano. Strong character actor with good singing and very good dancing ability. HELENE SUPPORTING. Playing age of Mezzo soprano. Strong character actor with good singing and very good dancing ability. URSULA FEATURED. Playing age of Spoken role. Strong character actor with an ability to play comedy well and portray a glamorous character. Could also play in the ensemble, especially in Act 2. PRINCIPALS (MALE): VITTORIO VIDAL / OSCAR LINDQUIST LARGE SUPPORTING ROLE. Playing age of Baritone. Very strong actor with the ability to play varying roles. Strong baritone singing voice able to sing a variety of styles. DADDY JOHANN BRUBECK SUPPORTING. Playing age of Baritone. Strong, charismatic actor with big stage presence. Good dancing ability preferred for this role. Could also play in the ensemble, especially in Act 1. HERMAN SUPPORTING. Playing age of Baritone. Strong character and comic actor with strong baritone voice. Dancing ability preferred but not essential. 7

9 CTC s Priscilla Queen of the Desert ENSEMBLE (MALE): ENSEMBLE (FEMALE): Sweet Charity is a strong ensemble show. As well as the big song and dance numbers, as the action follows Charity around NYC, there is the opportunity for the ensemble to create a collection of distinct characters. In addition, there are a variety of small featured roles to be played by the male ensemble including Mike and Barney. Men auditioning for the ensemble should be strong singers and preferably strong dancers or at least willing to work hard at the dance numbers and expect a challenge. They should also be sound character actors with clear speaking voices. Male ensemble will feature strongly in Rich Man s Frug, I m A Brass Band, The Rhythm of Life, Sweet Charity and I Love To Cry At Weddings along with a variety of acting scenes. Sweet Charity is a strong ensemble show. As well as the big song and dance numbers, as the action follows Charity around NYC, there is the opportunity for the ensemble to create a collection of distinct characters. In addition, there are a variety of small featured roles to be played by the female ensemble including featured taxi dancers at the Fandango Ballroom (eg Carmen and Rosie). Women auditioning for the ensemble should be strong character actors, singers and preferably strong dancers or at least willing to work hard at the dance numbers and expect a challenge. Female ensemble will feature strongly in Big Spender, Rich Man s Frug, There s Gotta Be Something Better Than This, The Rhythm of Life, Sweet Charity and I Love To Cry At Weddings along with a variety of acting scenes. 8

10 MONOLOGUE FOR THE ACTING AUDITIONS FOR PRINCIPALS: CHARITY Prepare both of the dialogues below DIALOGUE 1 a phone call from the Pompeii Club. Charity is with film star, Vittorio Vidal. Charity: (Into phone) Hello, Nickie, Miss Valentine speaking. (She is putting on airs) Miss Valentine Any messages for me?...charity, jerk!...who called?...jerry the Greek? (To Vidal) Must have been an overseas call. Oh, well, I don t know what time I ll be home That s entirely up to Vittorio Vittorio Vidal Yes, the international film star. We re sitting together at a table at the Pompeii Club waiting for our rolls Oh all right. (She hands Vidal the phone.) Would you please say hello? Vidal: (Into Phone) Hello Charity: (Into Phone) There s your hello - now goodbye. DIALOGUE 2 at the Fandango Ballroom Charity: Nickie, why did he do it, why? I bought him everything he ever wanted. I even got him a midnight blue Mohair 79 dollar Italian suit that he could have bought for 45 at Howards. But that louse wouldn t wear a Howard s suit. Nickie: Go ahead honey! Get it out of your system. Charity: The things I used to do for him. Getting up in the middle of the night to get him a provolone sandwich and a bottle of Yoo-Hoo chocolate milk. Nickie: Men they got no feelings. Charity: (To a picture of Charlie) Well, I ve had it up to here, Mister. You can slip and slide your greasy head on some other girl s shoulder. Nickie: You tell him, baby. Charity: I hope your tight Italian pants choke you to death.

11 OSCAR / VITTORIO Prepare both of the dialogues below, one as Oscar and one as Vittorio DIALOGUE 1 Oscar and Charity, just before the marriage proposal Charity: And do you have any idea how I earn that money? Do you? Heh? Oscar: You re a dance hall hostess. Charity: I m a dance hall hostess. I work in a dance hall. I dance with strange men and talk to them and drink with them and...(she suddenly realises what he said) How did you know? Oscar: I ve known for a week now. I was riding a bus one night, saw you, jumped off and before I could catch you I saw you go into this dance hall. I went in and stood in the corner. You were sitting in the booth with some man. You were laughing and giggling. I didn t stay very long---- an hour or so. That night when I went home, I tried very, very hard to hate you, Charity.but I couldn t do it. I just couldn t hate you. DIALOGUE 2 Vittorio and Ursula after a row; Vittorio is hiding Charity in the closet Vidal: Why do we say the things we do? Why do we torture each other like this? Ursula: Because I m an immature foolish child, that s why? Vidal: It s my vanity. My stupid egotistical vanity. Ursula: No darling, it s my fault. It s all mine. Vidal: I don t know anymore. I just don t know whose fault it is. Ursula: I never want to be away from you. Ever again. Vidal: It s no good without you, Ursula. No good at all. Ursula: Without you, Vittorio, there is no love. Vidal: (Postures) And without love, life has no purpose!

12 NICKIE / HELENE / FEMALE ENSEMBLE (READING ROLE OF NICKIE) Prepare the dialogue below DIALOGUE Charity has just returned to the Fan Dango Ballroom after spending the night with Vittorio Charity: You don t believe me? You don t believe I spent the night with Vittorio Vidal? Nickie: You swear? Charity: I swear! Nickie: On your mother s life? Charity: On my mother s life. Nickie: (To Betsy) Call up and find out how her mother is. Charity: (Shows momentos) Here. He gave me these. They re momentos of our evening together. Nickie: Is that all he gave you? Honey, if I was you I d pass the hat and beat myself to death with the cane cause you are dumb. Charity: But you don t know what happened. Nickie: Forget it. What you do in bed is your business. Charity: I wasn t in bed. I was in the closet. Nickie: To each his own. A hat and a cane. If it was me I would have walked out of there with my own beauty parlor. Helene: Now you ll never get out of here. Baby, you re stuck. Just like the rest of us. Nickie: Not me... I m not gonna spend the next forty years in the Fan-Dango Ballroom. I m not gonna become the world s first little old taxi dancer... I m gettin out.

13 DADDY BRUBECK / MALE ENSEMBLE (READING ROLE OF DADDY) Prepare the dialogue below DIALOGUE at the Rhythm of Life Church Daddy Brubeck: This is where it s happening, Baby. The Rhythm of Life--- Number Seven in the Ten Top Religions. Assistant #1: We re gonna climb to Number One, Daddy! Daddy Brubeck: Time is running out on the big number called Life. And we are all coming to the last eight bars. And the leader man will soon take us by the hand where we will enter the flip side of life called Eternity. Assistant #2: Eternity Assistant #1: The big coffee break in the sky Daddy Brubeck: But before we pile into that big bus. We got to make our peace. Assistant #2: Make it Daddy, make it. Daddy Brubeck: I shall not put my mother and father down. Group: No Daddy. Daddy Brubeck: I shall honor my debts, my grievances and my alimony. Group: Oh yeah. Daddy Brubeck: I shall not falsify my name at the Unemployment Bureau. Group: Oh yeah! Daddy Brubeck: I shall respect my obligations and report each month to the police. Group: Oh yeah. Daddy Brubeck: I shall not indulge in the evil marijuana weed commonly known as pot It is sinful It is harmful and it is very expensive---- (sirens sound) And I suggest you dump the goods before the cops arrive.

14 HERMAN Prepare the dialogue below DIALOGUE At Charity s engagement party Herman: And now, through the courtesy of the hostesses of the Fan Dango Ballroom, Local 107, waiters, the janitor, Joe the Bouncer, Harry the Cop, and our three regular customers since 1954.we present. (fanfare) a seventeen dollar cake. Charity: Beautiful! (She bends over and reads the inscription) Happy Birthday Angelo??? Nickie: (Whacks Herman across the shoulders) You couldn t get a new cake, you cheapskate? Herman: All right, all right. I didn t know she was leavin till this morning. Charity: Never mind. It s the sentiment that counts.. Herman, Angelo and I thank you very much. Herman: (smiles at her) For a broad, you gotta lotta class. (Shouts for quiet) It ain t often that one of our girls leaves to marry a nice, respectable guy. In fact this is the first time it ever happened. And so as a parting gesture, our three regular customers since 1954, would like a farewell dance with our own, bride-to-be, Miss Charity Valentine.

15 URSULA Prepare the dialogue below DIALOGUE Vittorio and Ursula after a row; Vittorio is hiding Charity in the closet Vidal: Why do we say the things we do? Why do we torture each other like this? Ursula: Because I m an immature foolish child, that s why? Vidal: It s my vanity. My stupid egotistical vanity. Ursula: No darling, it s my fault. It s all mine. Vidal: I don t know anymore. I just don t know whose fault it is. Ursula: I never want to be away from you. Ever again. Vidal: It s no good without you, Ursula. No good at all. Ursula: Without you, Vittorio, there is no love. Vidal: (Postures) And without love, life has no purpose!

16 MUSIC FOR SINGING AUDITIONS: Audition sheet music is available from camtheatrecompany.co.uk/get-involved, or can be sent to you by if you prefer. If you have any questions about the music or to request an audition slot, to Mention your preferred audition date and whether you wish to audition for a principal or ensemble role. Those preparing to audition for roles should prepare the following songs: CHARITY If My Friends Could See Me Now and Where Am I Going? VITTORIO / OSCAR I m The Bravest Individual and Too Many Tomorrows NIKKI / HELENE There s Gotta Be Something Better Than This DADDY BRUBECK The Rhythm of Life HERMAN I Love To Cry At Weddings URSULA / ENSEMBLE The Rhythm of Life