WEST BOCA DRAMA FALL PLAY AUDITION INFORMATION NOISES OFF READ THIS ALL VERY CAREFULLY! (And be sure to share it with your parents!) First, thanks for considering joining us for this incredible experience. Please read the summary attached to help you understand the play. Come prepared to do your best. Audition Dates and Appointment Registration Monday, August 31 st 3:30-Finish We will be listening to your prepared monologues. Come to act. Please remember that we are looking for performers, that is, how you convey meaning and how you move on stage is more important than whether you just have it memorized only. Enjoy it, and for Heaven s sake, tell us a story with it. You must register for an audition appointment. The sign-up sheet is in the Drama Classroom 2104. The appointment consists of a 4-minute audition during which you will: Perform a short, prepared monologue. This should be about 1 minute, and COMEDIC. Be prepared to have the director ask you to rework a portion NOT because you did it wrong, but just to see if you can handle direction and try different things. Be prepared to use a STANDARD BRITISD Dialect. Auditions are closed. You will audition in front of the casting directors only. You may not bring friends or family members into the auditorium during your audition. Dress comfortably but appropriately. You are, after all, trying to make an impression. The Call-Back Audition The call-back audition is an opportunity for the casting directors to hear some of the people who auditioned read together from the script. The names of those whom the casting directors wish to see again will be posted in the Drama Room and online at www.wbhsdrama.com (that evening) and before school begins on Tuesday, September 1. The call-back audition will take place that same day from 3:30 6:30. The audition is open only to those who are called back. Everyone who auditions should leave the entire block of time open just in case he/she gets called back. IMPORTANT: Other than a dress/technical rehearsal, the call-back audition can be the most frustrating time for actors because the casting directors needs cannot be fully pre-determined or prescheduled. Because of this, directors cannot accept requests to leave early or arrive late -- not even a few minutes. You may be excused early or not, depending on the needs of the directors. You may sit for an hour before you are asked to read. You may be asked to read early and then not again, but you will stay there just on the chance that the directors want to hear you read with another actor. That s simply the nature of the call-back audition.
You will need to be quiet during the entire session except when you are reading from the script. Even whispering can be very distracting to the other actors and the casting directors during this pressure-filled situation. If you are hyper by nature, bring something to do so that you will be occupied when you are not reading. Positive behavior will give a good impression. Negative behavior will most certainly be noticed. You are always auditioning. What I Think About When Casting First of all, let me say that I know from experience that auditioning is the hardest, most painful part of acting. I have since learned that casting is the hardest, most painful part of directing. We both, then, have an interest in making this as pleasant as possible. So, let me explain a few things about what is happening from the director s chair, so you will know what I am thinking about when I sit there in the house and watch you strut your stuff. First, I am thinking about the script. What does it demand from the characters? How might the actor in front of me fit the roles that are available? Often there is a great deal of flexibility in the script for different body types. On the other hand, there are situations where actors MUST fit certain physical attributes, such as height. Next, how well does the actor match my vision of the role emotionally, vocally, and physically? I should add that, in auditions, I much prefer an actor to make strong choices that are different from my ideas rather than play it safe and not have any boldness. That brings me to my next point: Be prepared to have me give you a direction and have you redo your monologue. That does not mean that I disliked your interpretation; I am simply looking for your ability to take and use direction. Are you flexible? Can you adjust, or are you stuck with one thing, a one trick pony? Because I already know some of you, let me add this: While prior knowledge does affect casting, it is only in this way. If I know you to be a hard worker, willing to follow direction and cooperate with others, I am likely to want to work with you again. On the other hand if I have a pet peeve in casting, other than lack of preparedness, it is this: I cannot stand it when an actor seems to carry the air of I- know-i-am-in-because-the-director-knows-me. Confidence is key in an audition; Arrogance is death in an audition. Remember also that you are auditioning every second you are in the presence of the casting directors!! Not just your performance, but the way you carry yourself, the way you talk with directors and assistants, the way you treat others in the lobby. I have personally seen directors rip up the resumes of actors who performed brilliantly, but were rude, superior, or uncooperative. Think about it. Who wants to spend several hours a day for 2 or 3 months with an unpleasant person? So, relax, be kind, and come mega-prepared. Then let your light shine and we will have more than enough fun to make the difficulty of auditions worth it. Tips for Auditioning If you are nervous about auditioning, you are not alone. I believe it was Rosie Perez who said, Auditioning is like standing on stage naked, and turning around very slowly. It feels weird to everyone; the trick is to believe in yourself. With thanks to Helen Dixon, here are some tips to help you get though and do your best. 1. Be prepared You should be well prepared for an audition because it will give you more confidence and allow the casting directors to see your true performance level talent, which is, after all, the main purpose of the first level of auditions. Memorize your audition monologue and practice it several times in front of a mirror so that you are sure that your face and body are as dynamic as your voice. Audio tape and listen to your self over and over until you get your vocal dynamics volume, inflection, articulation, etc. down exactly as you want them to be. Look for places in the monologue where movement might fit in, and then try several different options before deciding on the right movements. You should also practice several times in front
of family and friends so that you can get over the this-is-the-first-time-i m-performing-this jitters. Memorizing and practicing also gives you an opportunity to work on your timing. Imagine having to stop in the middle of a very funny or very serious moment in a monologue to look at the script! You will lose confidence and the casting directors won t know if you really have the ability to bypass your nerves and perform well in front of an audience. Above all, be honest to the character, don t just go big. Go honest! 2. Arrive early. You should be at an audition at least twenty minutes before your scheduled time. This allows you to fill out any necessary paperwork, do some warm-up exercises and practice one last time. It also shows the director that you can be responsible about getting to rehearsal on time. 3. Relax. If you get nervous and your hands start to get clammy and your mind draws a total blank, take a moment to get focused and gain back your concentration and confidence. Sometimes it s a good idea (even before you start) to put your head down, close your eyes and take a couple of deep breaths to get rid of those last few butterflies. 4. Project! Project! Project! Make sure that you can be heard. You voice should fill the entire audition space. I have never heard a director tell any actor that he/she is too loud. It is better to shout than to not be heard at all. Nobody else may like your outside voice, but your director will love it! 5. Have fun! As much as possible, try to forget the pressure of the audition and just look at it as another opportunity to perform for a captive audience! Whether or not you get cast in a role, you will learn a lot from the audition experience that will help you to meet future challenges head on! What are the casting directors looking for in the first round of auditions? To summarize Can you play a role truthfully? Can you perform well under pressure? Are you vocally and physically dynamic? (Often called stage presence ) Can you be heard? I hope these tips are helpful as you prepare.
Character Descriptions Lloyd Dallas age 30-55, all ethnicities. The Director of Nothing On. Lloyd is passionate, suave, hottempered, and extremely harried. His show is about to open and it is not going well. A bit of a ladies man, he is carrying on with both Brooke and Poppy, which adds to his stress. Dotty Otley age 50s, all ethnicities. An aging prima donna actress, plays Mrs. Clackett, the housekeeper of the Brents country home in Nothing On. Her retirement money is wrapped up in this production, so the stakes are high for her. Basically sensible but prone to flights of melodrama. She is having a great deal of trouble remembering her lines, props, blocking. Capable of using spite or self-pity to get her way. Involved with the much younger Garry. Garry Lejeune age 30s, all ethnicities. Actor, plays harried real estate broker Roger in Nothing On. Means well. Believes in The Theatre. Tries to keep the show going and everyone s morale up, but often has trouble finishing his sentences. His good nature is replaced with jealousy when he believes Dotty has become involved with Frederick. (NOTE: This role involves falling down a staircase. Brooke Ashton age 20s-30s, all ethnicities. Actress, plays Vicki, who works for the tax authorities and is trying to woo Roger in Nothing On. Blind as a bat without her contacts, which have a tendency to pop out at bad times. Carrying on with Lloyd, which is how she got her part in the show... (NOTE: This role involves the physical demands of running up and down stairs in heels, Athleticism is extremely helpful.) Belinda Blair age 30s-40s, all ethnicities. Actress, plays the charming and wealthy Flavia in Nothing On. An experienced actress. Unfailingly positive and reliable. Charming. A goodhearted busybody, who knows all the gossip about the company. Attempts to keep the show going when it begins to unravel. May harbor a little crush on Frederick. Frederick Fellowes age 30s-40s, all ethnicities. Actor, plays the dashing and wealthy Philip Brent in Nothing On. Currently in the middle of a nasty divorce. A neurotic actor. Bumbling and filled with self doubt. A sweet man. Not the brightest crayon in the box. Overly analytical about his lines and blocking. Violence and blood upset him, causing him to faint or get nosebleeds. Selsdon Mowbray a ge 60s-70s, all ethnicities. Actor, plays the Burglar in Nothing On. Charming old duffer of a an alcoholic stage veteran. Forgets lines. Misses entrances. The entire cast attempts to keep him from getting his hands on a bottle. Causes the company to panic when he cannot be found at all. Tim/Tina Allgood age 20s, all ethnicities. The company s Stage Manager. Very young, inexperienced, Longsuffering, is absolutely and shamelessly taken advantage of by Lloyd. Exhausted and completely sleepdeprived. Responsible for an inhuman amount of tasks and forced to understudy everybody. Poppy Norton-Taylor age 30s, all ethnicities. The company s Assistant Stage Manager. Mousy, shy, maybe a little plain. Along with Tim, takes the brunt of Lloyd s and the actors abuse. Overworked and often on the verge of tears. Works frantically to keep the show from completely falling apart, a hopeless (and thankless) task. Carrying on with Lloyd. There s something she hasn t told Lloyd yet...
AUDITION APPLICATION FORM Please give this form and your résumé to the casting directors as you enter the audition space. PLEASE PRINT CLEARLY NAME GRADE: 9 10 11 12 ADDRESS MALE FEMALE PHONE NUMBER(S): HOME: CELL: YOUR EMAIL: PARENTS /GUARDIANS NAME(S) Those with whom you are living _ If you have a résumé, attach it to this form. If not, please fill in your theatre experience on the résumé provided. Also, attach a current photo. On the attached calendar, please indicate any conflicts that you have with the rehearsal dates and times. Also indicate how flexible your scheduled conflict is. ROLES: When you audition, you are agreeing that you are willing to play any role in the script. However, feel free to list the roles that are most appealing to you. COMMENTS: This is your opportunity to let the casting directors know anything that you think is significant but is not covered on any other part of this application.
RÉSUMÉ OF THEATRICAL EXPERIENCE: (do not worry if you have had little experience; just put what you have, if anything) PLAY ROLE/CREW SCHOOL/THEATRE GROUP WHEN (APPROX.) THEATRE CLASSES/WORKSHOPS: SINGING CLASSES/WORKSHOPS: DANCE CLASSES/WORKSHOPS: OTHER TALENTS AND ABILITIES: (Juggling, doing the splits, gymnastics, walking on hands, voices, etc.)
ACTOR S CONTRACT FOR WB DRAMA PRODUCTIONS Student Name Bring this contract to your audition appointment (completed and signed by you and your parent). Initial each item as you agree to it or complete the task indicated. Student Initial Parent Initial 1. I have completed the audition application including the theatrical experience. 2. Because most of the rehearsals are determined by the director after the show is cast, it is important that we have an accurate picture of your ability to rehearse. Attached is a calendar dated until the final performance date. On it please indicate all of the time commitments and obligations which would prevent you from rehearsing. Be sure to include work, athletics, doctor s appointments, church/community/club obligations, vacation plans, family events, etc. 3. ---We understand that all rehearsals involving a student s role (no matter how small) are mandatory and unless we have indicated on the calendar that the student has a previous commitment, he/she MUST attend those rehearsals. ---We understand that the student cannot miss ANY rehearsal, performance or workday for ANY reason from the time indicated on the calendar. ---We have paid particular attention to the rehearsal times during Tech Week. ---We will not schedule additional events that conflict with the rehearsal calendar. 4. I understand that by auditioning I agree to accept whatever role I am given. 5. I agree to work cooperatively with everyone who is connected with this production. Student s full signature Date Parent s full signature Date All students who have an acceptable GPA for the most recent grading period are welcome to audition. Unless it is important to the script, a factor such as race/ethnicity or physical capability are not considered when making casting decisions, nor is grade level. When you audition, you will be considered for all of the roles that are appropriate for your gender. For many roles, even gender is not a factor. NOTE: There may be a few roles in the play for which physical capability could be a factor. Please bring the complete packet to your audition. This includes: 1. Audition Application Form 2. Résumé of Acting Experience/Photo 3. Actor s Contract with Parent s signature 4. Calendar with ALL of your personal conflicts
Name Phone # Rehearsal Schedule / Production CALENDAR for Noises Off Use this Calendar to write all conflicts in the space provided. You must turn this in when you audition. Please bear in mind that not all cast members will need to rehearse every day. The size of the role a student has and which scenes are rehearsed on what days will be factors. However, knowing what conflicts a student has will help us determine casting as well as final scheduling. Also, keep in mind that once you turn this in, it is considered a contract. Parents and students should not schedule anything (not even dr. appointments) until the run of the show is over. Doing so will compromise the student s position in the cast. If you have an inflexible conflict on a mandatory day, please do not audition without discussing the conflict with me. Please note that most rehearsals periods on school days will end at 6pm, but will go later as the show gets closer. A specific schedule will be available at the first rehearsal. Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sept 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 27 4 11 18 25 NOV 1 8 21 22 23 24 25 26 28 29 30 OCT 1 2 3 5 6 7 8 9 10 12 13 14 15 16 17 19 20 21 22 23 24 26 27 28 29 30 31 2 3 4 5 6 7 9 10 11 12 13 14 Tech -No Conflicts 15 Tech No Conflicts 16 Tech 4:30-10pm --no conflicts 17 Tech 4:30-10pm --no conflicts 18 Student Preview 7:00. Call 4:30 19 SHOW 8:00. Call 4:30. 20 SHOW 8:00. Call 4:30 21 SHOW 2 & 8. Call Time 10:30. 22Strike No Conflicts