CURTAINS AUDITION PACK

CURTAINS AUDITION PACK BOOK + ADDITIONAL LYRICS BY RUPERT HOLMES ORIGINAL BOOK AND CONCEPT BY PETER STONE MUSIC + ADDITIONAL LYRICS BY JOHN KANDER LYRICS BY FRED EBB AUDITION DATE 16TH OF DECEMBER Rehearsal Period Commencing Mid December, 2017 Show Dates March, 2018 Welcome (Synopsis, BTG History + Important Dates) Who will I be working with? (Production Team) What happens on audition day? (Timetable) What do I need to prepare? (Songs, Readings + Character Listings) How do I book an audition? (Application Process) Audition booking form Membership form 1 2 3 4 8 Appendix 1 Appendix 2 Welcome Robbin' Hood of the Old West, a bad Western adaptation of the Robin Hood story is reaching its conclusion. The egregiously untalented leading lady, Jessica Cranshaw is a triple threat: she can't sing, act, or dance (or remember when to say her lines). To the relief of everyone, she is murdered during her opening night curtain call. The entire company comes under suspicion, and Lt. Frank Cioffi of the Boston Police Department is called in to solve the homicide. Believing that the perpetrator is still in the building, he sequesters it. The Suspects include the hard-bitten lady producer, Carmen Bernstein; her husband, Sidney; the show's flamboyant director Christopher Belling; divorced songwriting team Aaron Fox and Georgia Hendricks; Stage Manager Johnny Harmon; choreographer/leading man Bobby Pepper, ingénue Niki Harris, and ambitious chorine Bambi Bernét. The company use its spare time to attempt to fix the show's problems. Niki, Ms. Cranshaw's understudy, is passed up for the leading role in favour of Georgia, who is encouraged to take the role despite the protests of Aaron, who has fallen in love with her again. Cioffi, a theatre fan and amateur actor, becomes more involved with saving the show than solving the case. Cioffi finds himself falling for Niki, and she seems to return his affection, so he hopes she's not the murderer. Meanwhile, secrets are surfacing, the production numbers in Robbin' Hood are rewritten, rehearsed and rewritten again, and the body count is rising. Can Cioffi solve the case, save the show, and get the girl before the curtain rises without getting offed himself? This is a musical, after all! A hilarious journey for both performers and the audience, the original Broadway production garnered 8 nominations at the 2007 Tony Awards including Best Musical. Beenleigh Theatre Group is committed to all aspects of Community Theatre. Our mission is Quality theatre for our Community at affordable prices. We believe everyone in our Community should have access to the joy that is live theatre. Our theatrical home is the Crete Street Theatre Complex, corner of Kent and Crete Street Beenleigh. The Complex containing a 150 seat theatre (suitable for all aspects of modern theatre), with a large rehearsal space/green room, props and wardrobe space and two large dressing rooms. Beenleigh Theatre Group welcomes members of all ages to join in our BTG Family. From on stage to off stage; performers, builders, technicians, seamstress, bar staff, administrators, whatever your skill or background there is a place here to create at BTG. 1 Page

WHO WILL I BE WORKING WITH? DIRECTOR // ANDREW COCKROFT-PENMAN Andrew is studying a Bachelor s degree in Theatre and Performance at the University of New England. Previous directing credits include: Little Shop of Horrors (PTC), Sweeney Todd (EPCMS), Wizard of Oz (PTC), Popular Mechanicals (UNE), Comedy of Errors (CTA), Midsummer Night s Dream (SYT), Mystery of Edwin Drood (STC), Peter Pan (SYT) and, most recently, the sell-out season of Joseph and the Amazing Technicolor Dreamcoat (STC). Acting credits include: Hilestacov (Government Inspector), Dromio (Comedy of Errors), Mrs Twit (The Twits), Jack (Into the Woods), Quince (Midsummer Night s Dream), Borachio (Much Ado), Lewis (Pippin), Mother Gothal (Rapunzel) and Cecil Graham (Lady Windermere s Fan). Andrew is proud to hold a position on the production committee at Gold Coast Little Theatre and be the resident senior drama teacher at Spotlight Theatrical Co whilst he is looking forward to directing Oliver! as the first instalment of the 2018 mainstage season alongside Curtains for BTG. MUSICAL DIRECTOR // JULIE WHITING Julie is in constant demand as a Music Director, conductor, vocal coach, musician and educator. Her theatre career spans more than 85 productions across Queensland, including DAD S ARMY with Jon English and SWEENEY TODD with Rob Guest. In 2011, Julie was selected to attend the multiple-tony award-winning Goodspeed Musical Institute in the USA to study Music Direction. Julie s most recent professional engagement was as the Music Director for LEGALLY BLONDE at Toowoomba s Empire Theatre. Julie is the Creative Producer of her own musical theatre company, Blue Fish Theatrical, and has produced several large-scale musicals including the highly acclaimed Brisbane revival of CHICAGO in 2012. She was subsequently nominated for a Greenroom Groundling Award for Outstanding Contribution to Queensland Theatre. As a musician outside the theatre, Julie has appeared with a number of ensembles including the Queensland Youth Orchestra Wind Symphony and the Brisbane Symphony Orchestra. Julie has also performed as a Xylophone soloist with the Brisbane Concert Orchestra and with the Queensland Wind Orchestra. Other career highlights include the International Youth Wind Orchestra in Singapore (2005), and the Symphony Australia Conductor s Course (2008). Julie holds a unique combination of qualifications, which reflect her interest in diverse areas. These qualifications include a Bachelor of Arts in Languages and Applied Linguistics (Mandarin and Italian), a Bachelor of Music/Bachelor of Teaching (Secondary), a Postgraduate Certificate in Biomedical Science, a Master of Applied Linguistics and a Master of Education. EXPRESSIONS OF INTEREST FOR ALL OTHER PRODUCTION ROLES INCLUDING CHOREOGRAPHER ARE NOW BEING ACCEPTED AT BTGCURTAINS@GMAIL.COM 2 P age

WHAT HAPPENS ON AUDITION DAY? MAIN AUDITION DAY 16TH OF DECEMBER AT CRETE STREET THEATRE AUDITION TO-DO LIST 1. Read the audition pack carefully and email any questions to Artistic Director aimee.monement@beenleightheatregroup.com 2. Submit your audition registration (obtained from Artistic Director, aimee.monement@beenleightheatregroup.com or http://beenleightheatregroup.com/whats-on/auditions/) and be sent a closed audition time by a member of our production team. Closed auditions will be throughout the morning and afternoon on the 16th. Beginning at 9:00am. They will consist of a prescribed reading (see page 4 onwards), a prescribed song (see page 4 onwards) both dependant on what character(s) you are auditioning for. Please also prepare a song of your choosing and have it on standby. Please note: a pianist will NOT be available at the audition. The backing tracks for you chosen character(s) will be sent to you via confirmation email or at the earliest convenience. For the song of your choice you will bring your own backing in the form of either a CD, Smartphone or USB. 3. Attend your Closed Audition (Time advised upon registration) 4. Attend your Ensemble Workshop (December 16th at 5:00pm) 5. Attend your Dance Call (December 16th at 6:00pm or 7:00pm for either intermediate or advance levels respectively) Time Activity What to bring 9:00am Closed Auditions Onwards BOOK NOW AIMEE.MONEMENT@BEENLEIGH THEATREGROUP.COM *Your prescribed song and the reading (Dependant on which character(s) you are auditioning for) ** A recent headshot (Does not need to be good quality. We just need something to remember individuals on the day. It s more fun if you pull a silly face) ***A Song of your choosing 5:00pm Ensemble Audition *Comfortable clothing that does not restrict your movement **Water bottle ***A sense of play 6:00pm Adult Dance Call Intermediate *Comfortable clothing that does not restrict your movement **Water bottle 7:00pm Adult Dance Call Advanced **Comfortable clothing that does not restrict your movement **Water bottle THE ENTIRE PRODUCTION TEAM OF CURTAINS UNDERSTAND THAT AUDITIONS CAN BE A NERVE WRACKING PROCESS! WE HAVE DESIGNED THE PROCESS TO BE AS FUN AND INVITING AS POSSIBLE, WITH AN AIM TO SEE YOU SUCCEED. WE UNDERSTAND THAT YOU WILL DO YOUR BEST WORK WHEN YOU ARE RELAXED AND AT EASE SO PLEASE DO THROW AWAY YOUR INHIBITIONS AND BE READY TO JOIN IN THE GAME! PLEASE DON T HESITATE TO CONTACT US WITH ANY QUERIES VIA ARTISTIC DIRECTOR, aimee.monement@beenleightheatregroup.com 3 P age

WHAT DO I NEED TO PREPARE? CHARACTER: LIEUTENANT FRANK CIOFFI (BARITENOR Ab E) SONG: COFFEE SHOP NIGHTS GIVEN CIRCUMSTANCES: (20 s 40 s): Sweetly endearing local Boston detective who idolizes the world of musical theatre and has revelled in the thrill of performing in community theatre. Called upon to solve the murder of the star of Robbin Hood (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, and solid dancing in one extended Fred and Ginger number. CIOFFI: Excuse me, I'm Lieutenant Frank Cioffi of the Greater Boston Police Department, Homicide Division, and oh it's an honor to be standing on the same stage with each and every one of you. First, let me assure you that I don't want my own work to delay your production from reaching the home on Broadway it richly deserves. I happened to see Robbin' Hood in previews and may I say that, with the exception of the deceased Miss Cranshaw, you're all just such wonderful performers (PLEASED COMPANY MUMBLINGS) You're more than welcome. I've, well, I've done a little community theatre myself -- oh, no, nothing that fancy, although my Billy Bigelow at the Brookline Barnhouse got a favorable review... and in "A Midsummer Night's Dream," my Bottom was very wellreceived. CARMEN: I'm sorry I missed it. CIOFFI: Oh, no, it was nothing, nothing like... (looks about in awe) This. CARMEN: Wait one moment. You say that you're from Homicide? CIOFFI: Ah, well, yes. Based on a preliminary autopsy, it's clear that Jessica Cranshaw was murdered. CHARACTER: NIKI HARRIS (SOPRANO C E) SONG: A TOUGH ACT TO FOLLOW GIVEN CIRCUMSTANCES: (20 s-early 30 s) Pretty, almost too innocent ingénue, a local performer in a small role hoping Robbin Hood will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended Fred and Ginger number. NIKI: Lieutenant! My name's Niki -- CIOFFI: -- Harris. Miss Niki Harris. I read your bio several times through on the bus ride home the other night. May I say I found your performance particularly memorable? It was just lovely. NIKI: Well thank you. CIOFFI: Lovely. (Beat.) NIKI: Well thank you. CIOFFI: I'm crazy about your little vibrato. NIKI: You're very kind. CIOFFI: I try to be. That's not always easy in my line of work. NIKI: Yesterday I was coaching Miss Cranshaw on her lines and of course I said I'd be glad to help -- CIOFFI: That's so like you. NIKI: Well, I'm also her understudy -- at least I was -- I guess I'm Georgia's now -- but then these three letters fell out of Miss Cranshaw's script. She laughed them off but I kept them. I'm afraid my fingerprints are all over them. (handing him letters) They're death threats. See, the words and letters have been pasted onto the paper, cut from a newspaper, I suppose. CIOFFI: "YOU'RE MURDERING THE SCORE BUT I'LL MURDER YOU." "YOU'LL DROP BEFORE THE CURTAIN DOES." "IF YOU DON'T QUIT, YOU'LL DIE LEGIT." NIKI: Can you tell anything from them? CIOFFI: Well they seem pretty negative in spirit. NIKI: Well, yes, of course. CHARACTER: GEORGIA HENDRICKS (MEZZO-SOPARNO BELT G E) SONG: THINKING OF HIM GIVEN CIRCUMSTANCES: (20 s 40 s, similar age to AARON) Female half of our show-within-a-show s song writing team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. OSCAR: You think our director wants us to go to Broadway using an understudy? AARON: Well, to be fair, both Niki and Bambi are game enough. GEORGIA: Bambi's fair game for anyone. AARON: Georgia -- GEORGIA: You forget I've been down this road with you before. If we were still married, I'd be beating you over the head with a 4 P age

blunt ingenue. AARON: You're a fine one to talk. You think I don't see you constantly playing up to our leading man, the guy who broke up our marriage? GEORGIA: Aaron, you're the guy who broke up our marriage. Bobby was just there when I needed someone and here he is again hey there Bobby CHARACTER: CARMEN BERNSTEIN (ALTO BELT Eb E) SONG: IT S A BUSINESS GIVEN CIRCUMSTANCES: (30 s 50 s) Brash and brassy Broadway producer. Terrific comedic actress with a belt. BAMBI: Come on, mother. You need to get something to eat. If you're nervous, I'll taste your food for you. CARMEN: You have no taste, Elaine. I've seen your make-up, your closet and your boyfriends. And I've seen a couple of your boyfriends in the closet with your makeup. BAMBI: You never have a good word to say about me, do you? Especially in public. I thought I did pretty good in that last number. CARMEN: You were okay, which you ought to be considering the fifteen years of singing, dancing, and acting lessons I paid for. Buying dancing lessons for you was like buying gloves for Captain Hook. CIOFFI: Uhm, maybe I should leave -- CARMEN: No, you have dreams of being in the theatre, you should hear this, too. Elaine, I may be your mother, but as a Broadway producer, there's something even more important to me than getting you a star turn. BAMBI: What CARMEN: Me turning a profit BAMBI: I'm sorry, mother, but as far as I'm concerned the theater is a temple. CARMEN: What does that mean? It should only be filled on shabbas?! Wise up, Elaine! CHARACTER: AARON FOX (BARITONE Bb Gb) SONG: I MISS THE MUSIC GIVEN CIRCUMSTANCES: (20 s 30 s, similar age to GEORGIA) The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he s separated but for whom he still pines. He s a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. OSCAR: You think our director wants us to go to Broadway using an understudy? AARON: Well, to be fair, both Niki and Bambi are game enough. GEORGIA: Bambi's fair game for anyone. AARON: Georgia -- GEORGIA: You forget I've been down this road with you before. If we were still married, I'd be beating you over the head with a blunt ingenue. AARON: You're a fine one to talk. You think I don't see you constantly playing up to our leading man, the guy who broke up our marriage? GEORGIA: Aaron, you're the guy who broke up our marriage. Bobby was just there when I needed someone and here he is again hey there Bobby CHARACTER: SIDNEY BERNSTEIN SONG: NON SINGING ROLE GIVEN CIRCUMSTANCES: (Late 50 s-mid 60 s): The always-angry, sleazy, philandering producer of the out-of-town flop. Sidney is rough around the edges and completely self-serving. Requires a cartoon-like character actor who is funny on arrival. No singing required. SIDNEY: The name is Sidney Bernstein. You'll find it on the marquee of this theatre, just above the word "PRESENTS." I just got in on the first train out of Penn Station, I walk in the door and this lummox here -- O'FARRELL: I told him once he came in he couldn't leave. SIDNEY: I refuse to be put in this position! CARMEN: My exact words on our honeymoon! BELLING: Sidney, I'm tendering my resignation. SIDNEY: (ominously) You wouldn't want to do that, Chris. Lieutenant, I can't be a suspect, I was in Manhattan when Jessica got murdered (moving them downstage) Can we talk as one man to another? I spent the night keeping company with a certain lady I've been keeping on the upper East Side. If I gave you her name, it could ruin her reputation. 5 P age

CHARACTER: CHRISTOPHER BELLING (BARITONE B E) SONG: ADULT ENSEMBLE SONG GIVEN CIRCUMSTANCES: (40 s - 60 s) English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. CARMEN: Jessica Cranshaw will never be better than she was this evening. BELLING: But she was horrible CARMEN: I know. But she'll never be better. She's dead. That was the hospital on the phone. In terms of future performances, Jessica Cranshaw now has a conflict. Chris? Do you want to say something to the cast? BELLING: No, I have no notes... CARMEN: I mean about Jessica! BELLING: Well... let's all form a semi-circle, boy-girl-boy-girl, tallest on the inside. Bambi, you're blocking Niki for the entire left side of the house -- Well then... shall we observe a minute of silence, to match the audience's response to Jessica's first number? CARMEN: Say something, for God's sake. BELLING: People... a human being has died. Or rather, a leading lady has died. And I'm sure we'll all remember Jessica in our thoughts and in our resumes. Perhaps we can best show our sentiments both as a tribute and as an acting exercise (assigns:) Soprano-Alto-Tenor-Bass! CHARACTER: BAMBI BERNÉT (SOPRANO C C) SONG: ADULT ENSEMBLE SONG GIVEN CIRCUMSTANCES: (Early 20 s-early 30 s) Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong street-smart dumb blonde comedy, and singing. BAMBI: Come on, mother. You need to get something to eat. If you're nervous, I'll taste your food for you. CARMEN: You have no taste, Elaine. I've seen your make-up, your closet and your boyfriends. And I've seen a couple of your boyfriends in the closet with your makeup. BAMBI: You never have a good word to say about me, do you? Especially in public. I thought I did pretty good in that last number. CARMEN: You were okay, which you ought to be considering the fifteen years of singing, dancing, and acting lessons I paid for. Buying dancing lessons for you was like buying gloves for Captain Hook. CIOFFI: Uhm, maybe I should leave -- CARMEN: No, you have dreams of being in the theatre, you should hear this, too. Elaine, I may be your mother, but as a Broadway producer, there's something even more important to me than getting you a star turn. BAMBI: What CARMEN: Me turning a profit BAMBI: I'm sorry, mother, but as far as I'm concerned the theater is a temple. CARMEN: What does that mean? It should only be filled on shabbas?! Wise up, Elaine! CHARACTER: OSCAR SHAPIRO (BARITONE Bb E) SONG: WHAT KIND OF MAN? GIVEN CIRCUMSTANCES: (45-65): from the garment district and sole investor in Robbin Hood. A likeably gruff man who knows nothing about theatre and frets over every dime of his that s spent. Requires good rough around the edges comedy and singing. CARMEN: Holy Shit. OSCAR: The reviews aren't good? What don't they like? GEORGIA: That we put on a show. OSCAR: How about: "Calls to mind Walt Disney's Pinocchio because its star is wooden, oughtta be hung by piano wire, and swallowed by the first whale that enters Boston Harbor." CARMEN: Who said that? OSCAR: The Christian Science Monitor. You're the producer, Carmen, I sank the profits from my sweetest sweatshop into this show. There's got to be something we can use. Let me consult with the writing team. Georgia, Aaron: does "execrable" have two meanings? Stop the presses! The Cambridge Patriot says: "Given the talent and experience of the veterans involved, "Robbin' Hood is sure to be a solid gold Broadway smash." CHARACTER: BOBBY PEPPER (BARITONE A E) SONG: IN THE SAME BOAT #2 GIVEN CIRCUMSTANCES: (20 s to early 30 s, similar age as Georgia and Aaron) The Gene Kelly of Robbin Hood, its choreographer and male star, and a handsome rival to Aaron for Georgia s affection. Requires strong dancing, singing, comedy. BOBBY: Okay. Yeah, I've been a pretend Casanova for weeks now. Georgia asked me to act like we're still involved, that our brief 6 P age

fling a while back was something more than that. She was always crazy about Aaron. And give me some credit: I think I've been giving the performance of a lifetime. NIKI: Fooling Aaron into thinking you still love Georgia BOBBY: No. Fooling Georgia that I'm acting. Lieutenant. But there's nothing I wouldn't do for her. CIOFFI: Except commit murder? BOBBY: Maybe even that, if she asked me. CHARACTER: DARYL GRADY SONG: NON SINGING ROLE GIVEN CIRCUMSTANCES: (30 s - 40 s): Caustic and smug theatre critic for the local Boston newspaper. Patronizingly pompous, enjoys using his power to make or break shows during their Boston tryouts. Does not require strong singing or dancing. GRADY: Ah the crime scene and its -- dare I say it? -- Foul Play. CIOFFI: Lieutenant Frank Cioffi, Homicide. Mind telling me who are you and how you got in here? GRADY: As a member of the press, I'm exempt from your quarantine, Lieutenant. Daryl Grady of the Boston Globe. CIOFFI: Really. After the review you gave "Robbin' Hood," I can't imagine why on earth you'd show your face here. GRADY: I tried my level best to find something good about the show. I praised the choreography, after all... and said the young woman who played the schoolmarm, Niki um... CIOFFI: Harris. GRADY: Harris showed great promise -- Well, it's all history now. Please accept my condolences over the loss of your star and your show. SIDNEY: When you interviewed me last week, I told you we were going to Broadway no matter what your review said. I guess you didn't take me seriously. GRADY: Re-open it? Jessica Cranshaw is dead, the whole show was built around her! CARMEN: With Georgia Hendricks taking over, I think you owe us a second look. GRADY: Georgia Hendricks. Wow. That's an unusual idea -- and, yes, there is a precedent for re-reviewing a show when the lead is replaced. Yes, all right, Sidney, Carmen: I'll grant your request and review tomorrow night's show. CARMEN: Tomorrow night's show? But that's -- tomorrow! GRADY: That's the best I can offer. But be warned: I can't imagine any show surviving two bad reviews from the Globe in one week. You might want to consider some other possibilities. CHARACTER: JOHNNY/JENNY HARMON SONG: NON SINGING ROLE GIVEN CIRCUMSTANCES: (20 s - 60 s) Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. JOHNNY: Believe me, Lieutenant, Bambi isn't the girl in this cast who's used personal connections to help her career. A stage manager is equal parts psychiatrist, Mother Hen and Father Confessor. I consider what anyone in the cast shares with me to be privileged information. Besides, what I know, Lieutenant... I don't think you wanna. CHARACTER: ENSEMBLE SONG: A TOUGH ACT TO FOLLOW GIVEN CIRCUMSTANCES: An ensemble of 6 strong character actors, singers and dancers. These 3 males and 3 females will also understudy other roles. PICK ANY FROM THE ABOVE 7 P age

FAQ 1. What do I do if I m auditioning for more than one role? - You will be required to read for every role you audition for however you only need to sing one prescribed song regardless of how many roles you are auditioning for. Make sure you pick the song that is going to best showcase your vocals. 2. Does everyone have to attend the dance call? - Exclusions: Auditionees for Aaron, Sidney, Christopher, Oscar and Daryl are all exempted from dance call as they are non-dancing characters. However, if an actor is looking to audition for these roles and still be considered for ensemble, then they must attend either the movers or dancers call. 3. Does everyone have to attend the ensemble workshop? - Yes. No exceptions. It s here that we really get to know you for what sort of actors you are and how you fit into a company/ensemble. 4. Are there any non-singing roles? - Sidney and Daryl are the only non-singing roles. Whilst there are other roles that don t sing solos, the actors playing those roles will perform in the ensemble numbers. 5. How else can I get involved in the production? - We would love to hear from anyone interested in lending a hand behind the scenes! Contact btgcurtains@gmail.com to discuss! HOW DO I BOOK AN AUDITION? You now know what the show is about, what Beenleigh Theatre Group is about, who is involved, when it s all happening and what roles are available. The next step is to book an audition! You must obtain an audition form (available from Artistic Director, aimee.monement@beenleightheatregroup.com or http://beenleightheatregroup.com/whats-on/auditions/), fill it out, send it back to us and then we will send you a time for your closed audition (the one where we hear your two songs and monologue(s)), your audition backing track (once you ve told us what roles you re interested in) and we ll also book you a space in a dance call and the ensemble workshop! It s as easy as that! WELCOME TO BTG 40 TH ANNIVERSARY SEASON 8 P age