FALL PLAY AUDITION & TECH APPLICATION PACKET IMPORTANT NOTE ABOUT THIS AUDITION PACKET:

Transcription

1 The King Stag FALL PLAY AUDITION & TECH APPLICATION PACKET IMPORTANT NOTE ABOUT THIS AUDITION PACKET: This audition packet is long. It involves a lot of reading. Being part of the Fall Play is a commitment. It involves a lot of work. If you want to be in the play, the first step is committing to reading the entire packet. Carefully. If you have questions, me. eflam@belmont.k12.ma.us Thank you. Mr. Flam

2 ABOUT THE KING STAG by Carlo Gozzi English Version by Carl Wildman There are loaner copies of the script on the PAC callboard. You may borrow one to read, but you must sign it out and it cannot leave the school building! THE KING STAG is an Italian Commedia Dell Arte play. Commedia Dell Arte originated as a style of Renaissance street theater, performed by travelling troupes of actors in town squares and city centers around Italy. Commedia plays relied heavily on stock characters, broad physical comedy, improvised comic bits and farcical storylines. Carlo Gozzi was one of the late master playwrights of Commedia and his work featured fable like stories of animals, nobility & magic, combined with the classic comic tropes of traditional Commedia. THE KING STAG tells the story of DERAMO, King of Serendippo and his quest to find a bride. The play opens with CIGOLOTTI carrying a green bird. Cigolotti reveals that five years ago, the magician DURANDARTE gave King Deramo a magic statue which could tell when a woman was being dishonest or untrue. As punishment for revealing his magic to a non magician, Durandarte was transformed into the bird Cigolotti now holds. Back at the palace we learn that in the five years that have passed, King Deramo has interviewed 2748 women and the statue has revealed all of them to be unworthy of becoming Queen. Next to be interviewed are SMERALDINA, the uncouth sister of The King s Butler BRIGHELLA, who is engaged to TRUFFALDINO, the King s Birdcatcher; CLARISSA, who is in love with LEANDER and is daughter to the King s (Evil) First Minister TARTAGLIA; and finally ANGELA, daughter to the King s Second Minister, PANTALONE and brother of Leander. Angela has already fallen in love with the king, but the (Evil) Minister Tartaglia is determined to marry Angela himself and see his daughter Clarissa marry the King. When the King (with help from the magic statue) chooses Angela, Tartaglia is furious and vows revenge. Out in the woods during a hunt, Tartaglia uses another bit of magic stolen from the magician and transfers the King s soul into the body of a stag (deer) and then puts himself into the King s body. Tartaglia returns to the palace determined to marry Angela and rule as King. The King (now a stag) manages to transfer his soul to the body of an old man, and returns to the palace to reclaim his bride. Truffaldino captures the bird (who is actually the magician) and returns to the palace. Throughout all of this a bear wanders through the woods (why not?). Back at the palace, Tartaglia has imprisoned Pantalone, Leander, Truffaldino and Brighella. Angela realizes that something is amiss and tries to get out of her engagement to the King. The true King (in the body of the old man) finds her, but they are discovered by Tartaglia. Before Tartaglia can kill the king, the bird transforms back to into Durandarte who restores everyone to their correct bodies and pairs each lover with his/her rightful partner.

3 CAST & CREW BREAKDOWN PRINCIPAL ROLES DERAMO, King of Serendip TARTAGLIA, The (Evil) First Minister PANTALONE, The (Not Evil) Second Minister CLARISSA, Daughter of Tartaglia ANGELA, Daughter of Pantalone TRUFFALDINO, The King s Birdcather BRIGHELLA, The King s Butler SMERALDINA, engaged to Truffaldino SUPPORTING ROLES CIGOLOTTI, The Magician s Assistant DURANDARTE, The Magician THE MAGIC STATUE AND OLD MAN ENSEMBLE ROLES BEAR, COURTIERS, LADIES IN WAITING, HUNTERS, PEASANTS, PUPPETEERS NOTE: The ensemble in this show will ALL have lots to do. Commedia is an ensemble performance style, and every actor will be part of multiple scenes and involved in Lazzi which are improvised comedic bits. TECH CREW ROLES EVERYONE WHO APPLIES FOR A TECH CREW POSITION WILL BE ASSIGNED ONE! Stage Management Set Construction/Prop Construction (Prop Tarts) Costume Design/Wardrobe Crew/Hair & Makeup Lighting Crew Sound Crew Run Crew A NOTE FOR ACTORS: On the audition form, there is an opportunity for you to select which roles you will accept. If you check off ensemble as a role you would accept, then you will be cast in the show (in either an ensemble, principal or supporting role). If you do not want an ensemble role you may request to be put on tech crew in the event you are not given a Principal or Supporting role. If you select this option you must fill out an audition form AND a tech application.

4 AUDITION/TECH APPLICATION CHECKLIST EVERYBODY: Download a copy of this packet (great job!) Read through the entire packet carefully. Pay special attention to the calendar, casting policy and production contract. Fill out the Audition Form AND/OR the Tech Application Form. if you are auditioning AND applying for tech you need to do both forms! Fill out the conflict/calendar form. PLEASE consult a parent/guardian to make sure you don t miss anything. Read and sign the Production Agreement Have a parent/guardian read and sign the Production Agreement ACTORS: Go to the following link and sign up for audition times: Pick a monologue from the end of this packet to prepare for your audition. Bring with you to the first day of auditions: Audition Form, Conflict/Calendar Form, Signed Production Agreement TECH CREW: Go to the following link and put in your tech information: (if you are auditioning AND applying for tech you can skip this step) Put your Tech Application, Conflict/Calendar form and signed Production Agreement in the folder on the PAC Callboard. Extra points for stapling. Tech applications are due by 5:30pm on Friday, September 20th.

5 AUDITION FORM Fill out this form completely and bring it to the first day of auditions with a copy of the Conflict/Calendar form and a Production Agreement signed by a Parent/Guardian Actor Name: Grade: Please indicate below what roles you would like to be considered for: Only check off roles you are absolutely prepared to accept. Do not check that you will accept a role in the ensemble unless you are prepared to take that role. Likewise, do not check that you will accept a principal role if you are not prepared to commit to the workload. Principal Roles Supporting Roles Ensemble If I am not cast in a principal or supporting role, I would like to participate in tech crew. I have submitted a tech crew application. Theater Experience (give a brief summary of previous theater or performance experience) Special Skills (juggling, acrobatics, unicycle riding, etc) Other Activities (list all other after school activities you participate in, including musical ensembles and athletics)

6 TECH APPLICATION Fill out this form completely and put it in the folder on the PAC Callboard with a copy of the Conflict/Calendar form and a Production Agreement signed by a Parent/Guardian. TECH APPLICATIONS ARE DUE BY 5:30 PM ON FRIDAY, SEPTEMBER 20th! Name: Grade: Which Fall Shows are you interested in (you may select one or both): Fall Play Only Broadway Night Only What Tech Jobs are you willing to do? Stage Management Set Construction/Prop Construction (Prop Tarts) Costume Design Wardrobe Crew/Hair & Makeup Lighting Crew Sound Crew Run Crew Ushers Publicity List Your top Three Preferred Tech Roles: What past theater experience do you have? What skills do you bring to tech crew? Why are you interested in being part of the tech crew? Other Activities (list all other after school activities you participate in, including musical ensembles and athletics)

7 FALL PLAY CALENDAR & CONFLICTS Bring this form with you to auditions or submit it with your Tech Application YOUR NAME: Not all actors/crew will be called to all rehearsals. Specific schedules will be posted two weeks in advance. All actors/crew are expected to attend mandatory rehearsals no conflicts except in case of emergency! For Tech Crew, there will be crew hours scheduled outside of the times listed below. Broadway Night Rehearsals for Tech Crew will be scheduled in early October. Please write in ALL conflicts you have with rehearsals below. For partial conflicts, write what time you are NOT available to rehearse. In order to be considered for a principal or supporting role, you cannot have more than 7 full rehearsal conflicts (2 partial conflicts count as one full rehearsal conflict). In order to be considered for an ensemble role, you cannot have more than 12 full rehearsal conflicts. Fri Sept 27 2:30 3:00 Cast Meeting Mon Sept 30 4:00 6:00 Rehearsal Tue Oct 1 5:00 8:00 Rehearsal Wed Oct 2 4:00 7:30 Rehearsal Fri Oct 4 2:45 5:45 Rehearsal Mon Oct 7 4:00 7:00 Rehearsal Tue Oct 8 6:30 9:00 Rehearsal Wed Oct 9 4:00 7:30 Rehearsal Fri Oct 11 2:45 5:45 Rehearsal Tue Oct 15 4:00 6:30 Rehearsal Wed Oct 16 4:00 6:30 Rehearsal Thu Oct 17 6:00 9:00 Rehearsal Fri Oct 18 2:45 5:45 Rehearsal Mon Oct 21 4:00 6:00 Rehearsal Tue Oct 22 4:00 6:00 Rehearsal Wed Oct 23 1:30 4:00 Rehearsal Mon Oct 28 4:00 8:00 Rehearsal Tue Oct 29 5:00 9:00 Rehearsal Wed Oct 30 4:00 7:30 Rehearsal MANDATORY No Conflicts! Thu Oct 31 2:30 6:30 Rehearsal MANDATORY No Conflicts! Fri Nov 1 2:45 7:00 Rehearsal MANDATORY No Conflicts! Mon Nov 4 4:00 10:00 Tech Rehearsal MANDATORY No Conflicts! Tues Nov 5 3:30 10:00 Tech/Dress MANDATORY No Conflicts! Wed Nov 6 2:00 9:30 Final Dress MANDATORY No Conflicts! Thu Nov 7 7:00pm PERFORMANCE MANDATORY No Conflicts! Fri Nov 8 7:00pm PERFORMANCE MANDATORY No Conflicts! Sat Nov 9 7:00pm MANDATORY No Conflicts! Sun Nov 10 Time TBD Clean Up/Strike

8 STUDENT PRODUCTION AGREEMENT Bring this form with you to auditions or submit it with your Tech Application Sign below to indicate acceptance of the following: I have read through this entire packet fully and understand the requirements for participation in the show. I have listed all conflicts as accurately as possible on my conflict form. I have read the casting policy and indicated honestly on my audition form or tech application which roles I am willing to accept. I agree to abide by the requirements set out in the production contract, including following expectations for academic standing, school attendance, rehearsal attendance, behavior and commitment. I want to be part of the cast or crew for this production! Student Name: Signature: Date: PARENT PRODUCTION AGREEMENT Dear Parents/Guardians, I am thrilled to have your student joining the cast or crew of this production. I know that having a student involved in the production, means you are also part of the production. The audition packet contains many very important pieces of information, and I strongly request that you look through it so that there are no surprises about the schedule, casting or expectations for students as we get into the process. Please sign below to indicate acceptance of the following: I have looked at the rehearsal calendar and to the best of my knowledge, all conflicts are listed as accurately as possible. I have read the casting policy and production contract and understand the requirements for participation in the show, including expectations for attendance and conflicts. I understand that students participating in Fine/Performing Arts Activities are expected to pay a Fine Arts Fee. (information about the fee and fee waivers is on the Belmont Public Schools Website) I have spoken with my child about the commitment involved in joining this production and he/she is prepared to meet the expectations outlined in this packet. Parent/Guardian Name: Signature: Date:

9 CASTING POLICY Participating in a Performing Arts Company production is an educational experience, and an important part of many students time at BHS. The audition process is designed to be transparent, fair, educational and enjoyable for students. At the same time, auditions can be stressful and the outcomes occasionally disappointing. Regardless of the outcome, auditions are a learning opportunity. Students who audition for multiple productions in their time at BHS will gain valuable experience, skills and confidence, which translate to future theatrical endeavors and other artistic, academic and athletic pursuits. How roles are cast can be a difficult process to understand, especially from the outside. Assembling a cast is like assembling a jigsaw puzzle: directors must consider the parts available in the show, the unique artistic vision of the production, individual audition performance of actors in the casting pool as well as the overall cohesiveness of casting. In auditions, students are evaluated on their acting ability, attitude and demeanor. For the musical, students are also evaluated on singing and dancing ability. Directors will be looking to see whether an individual student has the skills necessary to perform specific roles and considering how all students fit into a cohesive vision for the show. Preference in casting is not given based on grade level/seniority or to students who have participated in past PAC productions. While there is never any guarantee for a student, individuals who consistently demonstrate a positive attitude and work ethic in auditions and rehearsals are most likely to be in good standing at future auditions. On the audition form, students are asked to indicate whether they would accept principal, supporting or ensemble roles. Students interested in performance (especially freshmen and sophomores) are strongly encouraged to accept any role, as parts of all sizes are an opportunity to learn and grow as a performer. However, students who indicate a preference for principal or supporting roles only will not be penalized during the casting process. There are many opportunities at BHS and outside of school to pursue a variety of interests, and students are encouraged to carefully consider what kind of commitment you are willing to make when filling out this portion of the form. Students applying for positions on Tech Crew are asked to indicated preferred production roles. Every effort will be made to honor students choices, but assignments will also be made to ensure a balanced Tech Crew that will best serve the needs of the production. Students who have questions about the casting process are encouraged to contact the director and schedule an appointment to discuss their audition/casting in person. Because this is an educational process, students should be prepared to receive constructive feedback about their audition.

10 PRODUCTION CONTRACT PAC Productions are designed to be an educational and positive experience for all involved. In order to meet these goals, students participating in the show are expected to meet the following guidelines for participation: Citizenship in a Collaborative Artistic Endeavor Everyone involved in the show is part of an ensemble. All members of the ensemble are expected to approach the process prepared to work collaboratively and with all members of the production team. Members of the ensemble should come every day with a positive attitude and productive mindset. Speaking in a negative manner to or about another member of the production team (student or adult) is never acceptable. School Expectations for Participation in Extracurricular Productions Students must be in good academic standing in order to participate in the production. This includes a passing grade in academic classes and no outstanding discipline issues. The student handbook attendance policies require students to be in school for the full day in order to participate in after school activities. This includes performances. If an academic or disciplinary issue arises during a production, a student may be removed from the production or suspended for a period of rehearsal in consultation with school administrators. Rehearsal Attendance and Conflict Policy Actors & Crew are expected to attend all rehearsals to which they are called. Rehearsal schedules will be posted online and e mailed at least a week in advance of rehearsal. Students who have indicated conflicts on their audition form will be excused from those rehearsals. Once detailed rehearsal schedules are posted online, please avoid scheduling new commitments (doctor appointments, music lessons, etc) on days when you have rehearsal. New conflicts should be for sudden or unavoidable circumstances. If new conflicts arise, students must e mail the director as soon as possible. This includes inability to attend rehearsal because of school attendance or discipline issues. If an actor misses a rehearsal for which no conflict was given, this will count as an unexcused absence. If an actor has three unexcused absences, he/she may be removed from the production and that actor s role will be reassigned. Rehearsal Preparedness Actors should attend rehearsals prepared with script (in a binder) and a pencil. Actors & Crew should come to rehearsal in appropriate clothing. Clothes should not restrict movement or be too revealing. Appropriate footwear is also required for actors no sandals, boots or bare feet! For crew, safety appropriate clothing is required no open toed shoes! There is no food or drink (except water) allowed in the Auditorium or Little Theater. Snack should be eaten in the hallway during break! Actors are encouraged to bring water bottles. The Auditorium & Little Theater are shared spaces. Everyone is responsible for maintaining these spaces, including cleaning up any food as well as furniture moved for rehearsal.

11 Rehearsal Expectations Rehearsals are intended to be enjoyable, but fun should come from the rehearsal process. Actors & Crew members primary responsibility in rehearsal is working on the show, not socializing. Acting in a show requires taking risks, challenging oneself and committing to the difficult work of perfecting a performance. Actors are expected to engage in all rehearsal activities with an open mind and maximum possible effort. If an actor has a concern about his/her ability to perform the requirements of a role, he/she must communicate this to the director in an appropriate manner as soon as possible. Actors are expected to spend time outside of rehearsal memorizing lines, learning music and practicing blocking & choreography. Actors should make practice part of their regular routine. Students will have some down time during rehearsal. This down time can be spent observing rehearsal, memorizing lines, reviewing scenes, doing homework, reading or socializing quietly. Sudents should never wander from the rehearsal area without first getting permission from the director. Electronics are not to be used during rehearsal time: cell phones must be turned off or silenced (no vibrate mode) whenever an actor is in the rehearsal hall. If an actor/crew member has down time during rehearsal he/she may use electronics in an appropriate/non disruptive manner. If a director or staff member asks a student to put away an electronic device at any point during rehearsal, he/she must comply. Students are not allowed to take pictures or video during rehearsals, backstage or performances, either for personal use or to post online unless given explicit permission by a director. This is in accordance with BHS Handbook for student conduct and to ensure that rehearsals are safe spaces where students feel free to take risks and engage fully in the process.

12 WHAT TO EXPECT AT AUDITIONS There will be two rounds of general auditions for all actors. Sign up for these auditions online at: Group auditions: Thursday, Sept 19 from 2:45 4:45 and 5:30 7:30 and Friday, Sept 20 from 3:30 5:30. The first round of auditions will be a two hour group audition. Actors will participate in warm ups and games/improvisation exercises designed to help me get to know you and how you work in a group setting. We will also learn a little about Commedia Dell Arte and do some acting exercises based on the characters and style of Commedia. Monologue auditions: Monday, Sept 23 from 3:30 4:30 and 4:40 5:40 and Tuesday, Sept 24 from 4:00 5:00 The second round of auditions will be a monologue audition. Actors should select from the monologues from the following pages of this packet and prepare one to perform. You do not have to memorize your monologue (but you can if you want to). Your monologue presentation should be well rehearsed, so you are not simply reading off the page. I will be looking for evidence that the monologue was practiced and for clear strong vocal, physical and character choices in your monologue performances. Depending on the time, I may ask some actors to do their monologue a second time with some additional directing notes. The Callback list will be e mailed Tuesday night by 9:00pm Callbacks will be Wednesday, Sept 24 from 4:00 8:00 If necessary, there will be callbacks to read for specific roles. Actors who are called back will be given a scene from the script to read with a partner. Callbacks are only for actors I feel I need to see more from in a specific role. If you are not called back, it is likely because I already know what roles I am considering you for and do not want to waste your time or mine. Not being called back does not mean you aren t being considered for a part including parts that others are called back for. The cast list will be posted online Thursday, Sept 26 after school.

13 AUDITION MONOLOGUES TARTAGLIA Clarissa, my child, this is a great moment. Thanks to my unremitting labors, our fortunes in the kingdom of Serendip are in the ascendant. That is well. You are a lady in waiting and I am First Minister! That is well. But better is to come. Heed my words, Clarissa, and you shall be Queen! Yes, Queen, my girl! King Deramo lacks a queen. You are not ignorant of the fact that he has already interviewed in his privy chamber 2748 princesses and ladies of high estate from all parts of the globe. But of all these, Deramo found not one to his liking. The other day, with great tact and subtlety, I persuaded him that, for the sake of the happiness of his subjects, he should take a wife. He has agreed to interview two hundred young women, with a solemn pledge that he will choose one for his consort. The names of the candidates have been drawn from an urn to decide the order of interview, and your name came out first! First! But wait. There remains one obstacle. I could not wean him from his obstinate resolve to submit the candidates to questioning in that devilish privy chamber! So, Clarissa, there we are. I am the King s favorite, you are my daughter, you are not ugly. Conduct yourself well at the interview and you will be Queen, and I... I will be the most glorious, most magnificent person in the world! Tell me, my little Clarissa, you have nothing to be ashamed of, eh? no peccadillo on your conscience which might be discovered at the interview? ANGELA You are the King! No one would dare criticize your decrees. Then, though it be against my interest, allow me to ask you, sir: Where is the justice in compelling wretched girls to come and offer their hearts to you in this secret chamber? What a fond hope you have caused to be born in the minds of all women! Is it not a cruel game, then, to send them away, all of them, to weep at having failed to please you? I am not speaking for myself but in the name of all those women who have gone before, of all those who will come tomorrow and the next day, and are now sadly waiting this affront spare them, and let me be the last to suffer! Forgive me, my King, you gave me liberty to speak and perhaps I have abused that privilege. Oh, do not flatter innocent hopes with these vain questionings. Give me your refusal now and try me no more! What pleasure can you derive from tearing the heart out of an innocent girl who knows she is unworthy of you? I can stand no more, Derarno, I can stand no more... In pity let me go!

14 DERAMO Today I must face the serious task of choosing me a wife. If I choose according to my office I may wrong my heart, and if I choose according to my heart I may wrong my kingdom. In this most difficult of tasks, I cannot depend on my trusted Tartaglia. I cannot rely even on my own judgment. I must rely on a bloodless head! Bust, precious secret of a great magician, aid me once more with your faculty of laughing or of smiling when a woman is deceitful in your presence. A head! No body, no heart a mere head! A plaster shell! But five years we have lived together and you are like an old friend to me. I have relied on you and I have hated you! For you made me realize to the full the loneliness of princes. Yes, you made me despair of happiness and I hated you! From then on, I ceased to use your powers lest you should utterly destroy my faith in human kind. Today, however, I shall make a last experiment! Laugh, if you see treachery or untruth. But... I pray... may you yet remain as serious as a statue once; may I find a woman to rejoice my heart and grace my throne. SMERALDINA As you say, Your Majesty, as you say. We come of distinguished country stock; but, through calamities, misfortunes, you know... our circumstances are a trifle reduced. However, as Your Highness will be the first to appreciate, poverty does not pollute noble minds! Ah, cruel tyrant! Enchanter! From my childhood days I have languished for you! Oh, you claw my heart! You are a tiger in disguise! The very thought of it makes me swoon, oh, cruel... (She looks round to see where to fall and pretends to faint.) My Lord! A great tide of affection was surging in my bosom, an ocean of tenderness was swelling in my throat, and I had on the tip of my tongue a thousand endearments and sweet nothings, but I shall keep them till I come arrayed in my white wedding gown to transport you into Heaven. Then you shall know how I love you. (She attempts to curtsy and nearly falls.)... Farewell, my sweet Kingl She blows him a kiss. (To the audience, from the door.) He s mine! I ve hooked him! I m Queen!

15 TRUFFALDINO (male or female) Gracious lady! Allow me to offer, in token of my homage, a gift of the rarest creature you have yet seen! It is a parrot, my lady, but not any old parrot. This one is a most accomplished specimen of the great green variety. He is more learned than all of the professors at the university combined which is saying a lot for a parrot. He well, with your ladyship s permission I will give a demonstration. Just one moment and I will show you. (With a grand gesture towards the cage) There! Isn t he a beauty? But listen to him! Hello, Polly! Had a nice breakfast, Polly? (The parrot remains silent) Polly had a nice breakfast? (Silence. Menacingly) Scratch a Poll! (The Parrot does not budge. Truffaldino shakes the cage) Well, are you going to talk you little beast? But my lady, he will speak, he will. Good for nothing? Are you going to say something? Eh? So these are the riches you promised me for bringing you all that road to see the Queen? You won t catch me again that way! (He trips over a cushion and falls) I ll screw your neck!