 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
 |
|
||||||||||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|||||||||||||||
|
|
Requirements and rules:
· Must be 15 years of age or older by the first show date (March 31, 2011). · Each person auditioning will be required to meet with the choreographers for a short dance audition, so wear or bring comfortable, loose fitting clothes appropriate for dance (There are facilities available for you to change into your dance clothes). · Previous dance experience is not required (If cast in the show, dance instruction will be provided as part of rehearsal time). Jazz shoes are suggested if you have them. Tap shoes are recommended for some principal roles. · You may be asked to remain until the end of auditions for cold reading and other activities, so be prepared to stay until the evening is concluded (approximately 9:30 p.m.) **NOTE: The following requirements for particular roles are very specific, so please pay close attention to them, come prepared and call if you have any questions.
· You will be required to fill out an audition registration form Click here to open now. · There will be no monologue. Some cold reading from the script may be required. · All music, lyrics and choreography will be provided by the Henry Players at the auditions. You do not have to bring any music or recordings. · After registering, each person auditioning will: o be asked to sing the song specified for the part(s) being auditioned for (You may specify that you are auditioning for more than one part. However, you will be allowed to sing only once, so choose the one that you feel the most comfortable performing. ) o answer questions from the Directors o have your singing range tested o execute a short dance routine provided by the choreographers · Each of the parts or roles listed below will be required to sing the portion of the actual show song(s) designated for that character or role (A description of each character and PDF files of the music and lyrics will be posted on the website for each character and are attached to this email announcement. Recordings of the music will be posted on the website on or before September 15.) · The Directors are not only looking for vocal quality and ability, but also character presentation and body movement, gestures and choreography appropriate to both the song and the character. You will only have a few bars of the song to demonstrate this, so come prepared. · Some parts will require dance. Prior dance training or experience is not required to audition for any part or role, but will be a plus. Dance will be taught by the choreographers for each role as part of rehearsals. · Specific musical numbers and portions to be presented are as follows:
Male and female ensemble: § “Springtime for Hitler” – Measures 9 through 24 To save Music Right click on the link then press "Save Target As" ENSEMBLE (18-50), all other parts are played by the ensemble of 8 to 12 women and 8 to 12 men who must be able to sing with dance experience a plus (since most of the ensemble parts dance). All will need to create multiple comedic characters, so must have physical strength and stamina for physical comedy. Vocal range for men is bass and tenor, G to a1, and for women alto and soprano, g to c3. Parts played by the ensemble include but are not limited to: accountants, usherettes, nuns, bag lady, blind violinist, street cleaner, little old ladies (men to double women), little old ladies named Hold-Me-Touch-Me, Lick-Me-Bite-Me and Kiss-Me-Feel-Me, showgirls, Nazi storm troopers (women double as men), bums, prisoners and prison babes, cops, first nighters, jury foreman/judge, workman, Churchill, Stalin, Franklin D. Roosevelt, Liebkind’s assistant Gunter, Accounting head Mr. Marks, SPRINGTIME Hitler Wannabe’s, street cleaners and Roger's gay theater production team, including lesbian lighting designer Shirley Markowitz. Lead Tenor: § “Springtime for Hitler” – Measures 40 through 51; 84 through 86; 91 through 94 To save Music Right click on the link then press "Save Target As"
Max Bialystock: § “Betrayed” – Measures 23 through 40; 194 through 209 To save Music Right click on the link then press "Save Target As" MAX BIALYSTOCK (mid 30s to early 50s), is one of two leads and one of the producers in the title. He claims to have once been the "King of Broadway," but he is washed-up, having produced a string of flops that do not make it past the first performance. He is the driving force of the scheme to raise millions from his backers for the next play, which he calculates will be a flop, and then he will split the leftover money with his fellow producer Leo Bloom. He leads Leo in finding the play, director, and producing the show, only to be betrayed by Leo when the scheme is exposed. Max is crass, aggressive, belligerent, amoral, and yet charming in an obnoxious way. Still, we see his humanity by the end of the musical when he reunites with Leo. This part requires an actor of power, comedy, and presence – a theatrical thunderstorm, Borscht belt comic, and is a baritone with a vocal range of c to f1. Good theater movement skills.
Leo Bloom: § “Til Him” – Measures 35 through 41; 85 through 93 To save Music Right click on the link then press "Save Target As" LEOPOLD BLOOM (20s-30s), is one of two leads and one of the producers in the title. He is a meek, nerdy, anxious accountant, and intimidated by Max Bialystock's vivacity and aggression, but becomes intrigued with thought of realizing his desire to be a Broadway producer. He leaves his life as an accountant and decides to join Bialystock in his scheme. His love of show business deepens when he meets Ulla, the gorgeous blonde bombshell who comes to work for them. Bloom is smitten with Ulla. When the plot to defraud the investors is discovered, Bloom proves to have become the man that Bialystock urged him to be by running away to Rio de Janeiro with Ulla and the money. Bloom returns to stand up for his friend Max and accept punishment for his crime. A comedic actor great off the line, he is a lead but must play a comedic, passive yet passionate second fiddle to Max. Think anxiety disorder. Vocal range is baritone, c to f1, and dance skills, especially tap, is a plus. Franz Liebkind: § “Have You Ever Heard the German Band” – Measures 5 through 20; 49 through 62 To save Music Right click on the link then press "Save Target As" Have You Ever Heard the German Band Music Have You Ever Heard the German Band Notes FRANZ LIEBKIND (mid 30s to early 50s), a Nazi living in Greenwich Village, has written a play about his hero, Adolf Hitler. Bialystock and Bloom determine, after reading dozens of plays, that Liebkind's must be the worst play ever; it is certain to fail. Delusional, off center, and dangerous, Liebkind is so enthusiastic about having his version of Hitler's life depicted on stage, that he makes them put on swastika armbands and swear their devotion to Hitler. After an extensive audition process, Bialystock realizes that Liebkind is the perfect choice to play the starring role in Springtime for Hitler, ensuring that the play will be a flop. On opening night, Liebkind breaks his leg and has to be replaced in the show. This part requires an actor of power, comedy, and presence and comic German accent, and is a baritone with a vocal range of c to g1. Good theater movement skills. Ulla: § “When You Got it, Flaunt It” – Measures 57 – 97 To save Music Right click on the link then press "Save Target As" When You Got it, Flaunt It Music When You Got it, Flaunt it, notes ULLA INGA HANSEN BENSEN YONSEN TALLEN HALLEN SVADEN SVANSON (20-35) is a voluptuous, leggy blonde who shows up at Bialystock and Bloom's office to audition for a part in their new play. A sexpot, Ulla understands the spell she casts over men and is drawn to the mousy Leo with whom she runs away to Rio. She is cast in Springtime for Hitler as a showgirl and Eva Braun, but until the show is produced she works as Max and Leo’s secretary. The classic Mel Brooks blonde shiksa in the tradition of Teri Garr, the part demands a classic musical theater female: sexy, built like a woman, tall and leggy, a bit clueless but not stupid. Ulla must have a comic Swedish accent and be a mezzo-soprano range g to e2 with a belt. An excellent comic actress off the line and dance experience a plus. Roger Debris: § “Springtime for Hitler” – Measures 367 through 407 To save Music Right click on the link then press "Save Target As" ROGER DE BRIS (Late 30s to early 50s) is a pretentious, flamboyantly gay director who is asked to direct Springtime for Hitler. He is hesitant to direct Springtime, because he finds the subject matter too serious, but consults his assistants – all gay caricatures – for advice. The producers count on De Bris' natural bad taste to ensure that their musical will be a failure. When Franz Liebkind breaks his leg and cannot perform in the show, De Bris steps in to play Hitler. The result is a truly gay Hitler, who seems enraptured with the public's attention. One of the best comic roles in musical theater, the actor must be an over-the-top comedian, good with an unidentifiable European accent (comic British), who can play a gay stereotype convincingly. Vocal range is c to g1. Previous dance experience a plus. Carmen Ghia: § “Keep It Gay” – Sing the Roger part in measures 262 through 270; sing the Carmen part in 271 through 276; and the Carmen part in 283 through 287 To save Music Right click on the link then press "Save Target As" CARMEN GHIA (20s to early 30s) is Roger De Bris' "common-law assistant" and is as openly gay as De Bris. Carmen Ghia explains and interprets De Bris' more antic notions often to an extreme. It is Ghia who knows De Bris well enough to suggest that he would know all of the words to the starring role in Springtime for Hitler and would have a secret desire to step into the part when Liebkind is incapacitated. An actor who can play a feminine gay stereotypical ‘queen’, this part requires an extraordinary tenor range of e to a1 with a falsetto to g2 and good music theater movement. One of the best scene-stealing parts in the show. The Directors urge you to call or email with any and all questions. The Henry Players is a community theatre company. We endeavor to involve as many members of the community as possible in our productions, and we welcome your participation. Our goal is to provide the best possible theatre experience possible for both the participants and the audience, and we strive at all times to be fair in the manner in which we conduct all auditions.
For More Informations, contact: Bob Dotson 678-230-8971 Rebecca Dingbaum 404-483-9097 ___________________________________________________________________ DIRECTIONS TO BEREA CHRISTIAN CHURCH:
From the intersection of Jonesboro Rd., and Interstate 75: From McDonough Square
Thank you for your kind attention and participation, and may God bless.
|
Henry Players TheHenryPlayers@gmail.com Mailing address: P.O. Box 3083,,McDonough, GA 30253
Site created by English Design.net