DOCSLIB.ORG

2014 Production Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2014 Production Handbook Production Handbook 2014 2014 PRODUCTION CALENDAR Wednesday January 1 Online launch – www.rscproduction.com.au 4pm Thursday January 2 Audition guidelines and production handbook 4pm released online – www.rscproduction.com.au TERM 1 Tuesday February 11 Cast Auditions – Session 1 (by signup only) 3.30pm – 7pm Wednesday February 12 Dance Call (optional but additional) 3.30pm – 5pm Thursday February 13 Cast Auditions – Session 2 (by signup only) 3.30pm – 7pm Tuesday February 18 Callback Auditions – by request 3.30pm – 6pm Tuesday February 25 Cast published – www.rscproduction.com.au 5pm Applications for non-cast positions open 5pm Tuesday March 4 Full cast meeting and Parent Info Night 7pm – 8pm Tuesday March 11 Principal Singers Rehearsal 1 3.30pm – 6pm Tuesday March 18 Principal Singers Rehearsal 2 3.30pm – 6pm Tuesday March 25 Principal Singers Rehearsal 3 3.30pm – 6pm Tuesday April 1 Principal Singers Rehearsal 4 3.30pm – 6pm 1. Production Handbook 2014 TERM 2 Tuesday April 22 Rehearsal 1 – Full Cast (NB: Pupil Free Day) 3.30pm – 6pm Tuesday April 29 Rehearsal 2 3.30pm – 6pm Tuesday May 6 Rehearsal 3 3.30pm – 6pm Saturday May 10 Performance – RSC Musicals Celebration TBC Tuesday May 13 Rehearsal 4 3.30pm – 6pm Saturday May 17 Performance – RSC 60th Gala Dinner 5.00pm – 10pm Tuesday May 20 Rehearsal 5 3.30pm – 6pm Tuesday May 27 Rehearsal 6 3.30pm – 6pm Tuesday June 3 Rehearsal 7 3.30pm – 6pm Tuesday June 10 Rehearsal 8 3.30pm – 6pm Saturday June 14 Performance – Life Ed Gala Dinner (TBC) 12pm – 9.30pm Tuesday June 17 Rehearsal 9 3.30pm – 6pm Tuesday June 24 Rehearsal 10 and Sitzprobe 3.30pm – 9pm TERM 3 Wednesday July 16 – Production Camp 12pm – Friday July 18 Mt Evelyn Recreation Camp 1.30pm Tuesday July 22 Stage Rehearsal 3.30pm – 6pm Friday July 25 Stage Rehearsal 9am – 3.15pm Sunday July 27 Stage & Technical Rehearsal 10am – 6pm Tuesday July 29 Rehearsal as required 3.30pm – 6pm Sunday August 3 Full Dress Rehearsal 10am – 6pm Tuesday August 5 Performance 1 – Preview Performance (12pm) 9am – 3.15pm Thursday August 7 Performance 2 – Opening Night (7.30pm) 6pm – 10.30pm Saturday August 9 Performance 3 – Gala Performance (4.30pm) 3pm – 7.30pm The Production Ball 7.30pm Sunday August 10 Performance 4 – Matinee (2.30pm) 1pm – 5.30pm Wednesday August 13 Performance 5 – Student Rush (6pm) 4.30pm – 9pm Thursday August 14 Performance 6 (7.30pm) 6pm – 10.30pm Friday August 15 Performance 7 (7.30pm) 6pm – 10.30pm Saturday August 16 Performance 8 (7.30pm) – Closing Night 5.30pm – 11pm Monday August 18 Bumpout 9am – 11.30am 2. Production Handbook 2014 ABOUT THE SHOW Bialystock and Bloom! Those names should strike terror and hysteria into anyone familiar with Mel Brooks' classic cult comedy film. Now as a big Broadway musical, THE PRODUCERS once again sets the standard for modern, outrageous, in-your-face humour. It is a truly "boffo" hit, winning a record twelve Tony Awards and wowing capacity crowds night after night. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious flop in history, thereby bilking their backers (all "little old ladies") out of millions of dollars. Only one thing goes awry: the show is a smash hit! The antics of Max Bialystock and Leo Bloom as they manoeuvre their way fecklessly through finding a show (the gloriously offensive "Springtime For Hitler"), hiring a director, raising the money and finally going to prison for their misdeeds is a lesson in broad comic construction. At the core of the insanely funny adventure is a poignant emotional journey of two very different men who become friends. With a truly hysterical book co-written by Mel Brooks and Thomas Meehan (Annie) and music and lyrics by Mr. Brooks, THE PRODUCERS skewers Broadway traditions and takes no prisoners as it proudly proclaims itself an "equal opportunity offender”! THE AUDITION PROCESS General Audition and Dance Call Auditions for cast are open to any student of Ringwood Secondary College in 2014. The cast size is capped according to the dimensions of the stage, costuming and administration requirements. Therefore, the audition process is competitive. Auditions are conducted individually and in front of a panel of production team members as appointed by the director. Casting decisions are entirely at the discretion of the director and are made in accordance with the specific requirements of the show. Students must select and prepare one song from the list below. For each song, the sheet music and backing track excerpt to be used in the audition will be posted on the RSC Intranet (B.Moody’s pickup folder) from Tuesday January 28, 2014. Students new to the College, including those in Year 7, may collect hard copies of the material from the PAC office at lunchtime on Friday January 31. Please bring a USB memory stick. Students must sign up for a general audition slot on one of the following afternoons: • Tuesday February 11 between 3.30pm and 7pm • Thursday February 13 between 3.30pm and 7pm Signing up is an online process and must be completed through the website: www.rscproduction.com.au/auditions.html (Copy exactly, there is no link from the homepage.) This link will be available for use from Friday January 31, 2014. 3. Production Handbook 2014 In addition to the general audition, there will be a dance call on Wednesday February 12 from 3.30pm until 5pm. This is not compulsory, but anyone who wishes to be considered for a principal dance role must attend. Students with commitments to Intermediate Stage Band should see Mrs Tanner to make alternative arrangements. Please note that anyone who attends the dance call only, without signing up for a main audition, cannot be considered for a position in the cast. You MUST attend a general audition on either the Tuesday or the Thursday. Songs for females Songs for males When You Got It, Flaunt It – Ulla That Face – Leo Along Came Bialy – Hold Me Touch Me Along Came Bialy – Max Opening Night – Chorus Haben Sie Gehort Das Deutcshe Band - Franz Springtime for Hitler – Solo Nazi or Chorus Springtime For Hitler (Heil Myself) – Roger Springtime For Hitler – Solo Nazi or Chorus All candidates will be considered for all roles, irrespective of their song choices at auditions. Callback Auditions Following the general audition week, some students will be invited to a subsequent callback audition on Tuesday February 18. This session will run from 3.30pm until 6pm. As always, no inference about casting decisions should be drawn from whether or not students are invited to this audition. Cast Announcement The cast for 2014’s production of THE PRODUCERS will be published on the website at 5pm on Tuesday February 25. Those who auditioned unsuccessfully will be afforded priority in joining other areas of the show. We may choose to double cast principal roles. CASTING REQUIREMENTS – THE PRODUCERS THE PRODUCERS is a big chorus show. As such, we are looking for cast members that are excellent singers and general performers. THE PRODUCERS requires a large specialist dance team. There is a particular emphasis on tap. There are a number of substantial lead roles for males. While there are less principal roles for females, there are a large number of second tier solo singing and acting roles. Some supporting roles are open to either male or female cast, depending on the outcome of auditions. The best advice is to prepare as fully as possible for the audition and give the team every reason to say yes. 4. Production Handbook 2014 Principal Cast Max Bialystock is described as selfish and greedy - a man who is only interested in making money. Though this is later proven untrue, Max's fiery and sarcastic nature can be very intimidating. He is willing to do anything to make money (including "shtupping every little old lady in New York") and is often angry, short-tempered and unwilling to cooperate nicely. Leopold "Leo" Bloom is a mousy, nervous and fearful accountant, prone to panic attacks and who keeps a security blanket to calm himself. Nevertheless it is Leo who has the idea of how to make money from a failed play. Ulla introduces herself as a Swedish actress looking for a part in Max and Leo’s production Springtime For Hitler. She is a stereotypical Swedish woman: tall and beautiful with lovely blonde hair. She performs a song she wrote called "When You Got It, Flaunt It". She decided to audition when a "crazy man" (Max) yelled at her the previous day. While the casting isn't to start for quite a while, Max and Leo hire her as their secretary/receptionist. Following the unwanted success of the musical Springtime For Hitler, she and Leo flee to Rio where they marry. Her maiden name is never mentioned, but by the end of the play she is Ulla Inga Hansen-Bensen-Yanson-Tallen-Hallen- Svaden-Swanson Bloom. Roger Elizabeth De Bris is a flamboyant theatre director, described by Max as the worst director to have ever lived, and was chosen by Bialystock in an attempt to ensure that Springtime For Hitler would flop. He lives with his equally flamboyant partner, Carmen Ghia, and his production crew in an Upper East Side townhouse in New York. Roger must step up and perform the lead role of Hitler when Franz breaks his leg on opening night. Carmen Ghia is Roger’s' "common-law assistant" who loves to flounce around their Upper East Side townhouse. More flaming than the sun, Carmen is fiercely protective of Roger and equally appalling as a director’s assistant.
Load more

Recommended publications
  • Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
    Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M.
    [Show full text]
  • THE PRODUCERS Is Presented by Special Arrangement with Music Theater International (MTI, NY) Mermod © Yvan OD E PR UCER TH S
    The Geneva Amateur Operatic Society presents 40 ODUC YEARS PR ER HE A NEW MEL BROOKS MUSICAL ! S Hilarious Smash Hit T Musical Comedy from London and Broadway Book by Mel Brooks & Thomas Meehan Music & lyrics by Mel Brooks Nyon Marens Theatre 7 rue du Stand, Nyon From 13 to 21 May 2011 Friday 13 & Saturday 14 May at 8 pm Sunday 15 May at 7 pm Thursday 19, Friday 20 & Saturday 21 at 8 pm Online bookings from Tuesday 26 April on www.theatreinenglish.ch ; telephone bookings from Tuesday 3 May on +41 22 341 51 90, 10h30 - 12h30 Monday to Friday. www.gaos.chTHE PRODUCERS is presented by special arrangement with Music Theater International (MTI, NY) Mermod © Yvan T HE P RO D U C E R S GENEVA AMATEUR OPERATIC SOCIETY PRESENTS OD E PR UCER TH S A NEW MEL BROOKS MUSICAL! BOOK BY MEL BROOKS & THOMAS MEEHAN MUSIC & LYRICS BY MEL BROOKS DIRECTED BY DI BROWN, CAROLYN HORNFELD & LIZ WILLIAMS MUSICAL DIRECTOR: ALLARDYCE MALLON NYON MARENS THEATRE 13 TO 21 MAY 2011 The Producers is presented by special arrangement with Music Theater International (MTI, NY) www.gaos.ch GAOS AT 40 In 1971, some like-minded people from the Geneva area got together and decided it would be a great idea to produce some English-language musical theatre together. This year, the Geneva Amateur Operatic Society (GAOS) is still going strong as we celebrate the fortieth anniversary of this endeavour. I wasn’t there to witness the founding of GAOS. On the other hand, I am here today to witness what this society has become.
    [Show full text]
  • American Stage in the Park, 2018 Presents the Musical the PRODUCERS by Mel Brooks
    For Immediate Release March 30, 2018 Contact: The American Stage Marketing Team (727) 823-1600 x 209 [email protected] American Stage in the Park, 2018 presents the musical THE PRODUCERS by Mel Brooks. ‘We can do it!” as this cult classic comedy makes its way to Demens Landing on April 18th through May 13th. #asPRODUCERS GET IN THE KNOW ABOUT THIS PRODUCTION 1. Winner of a record 12 Tony Awards including ‘BEST MUSICAL’ 2. American Stage in the Park has been a celebrated Tampa Bay tradition for over thirty years; performed under the stars each spring at Demens Landing Park in St. Pete. 3. Starring Matthew McGee returning from American Stage’s hit production HAIRSPRAY and playing the role of Max Bialystock “…a sublimely ridiculous spectacle.” -NY Times St. Petersburg, FL – American Stage in the Park is excited to celebrate over 30 years outdoors with the opening of the musical THE PRODUCERS, winner of a record twelve Tony Award including “Best Musical.” The book & lyrics are by Mel Brooks with music by Thomas Meehand from Brooks’ 1967 film of the same name. The title sponsor of American Stage in the Park is Bank of America. "Our creative team for THE PRODUCERS is so talented and is thrilled to be presenting this record-breaking Tony winner. This year's park show is an ambitious and exciting undertaking for us and we are looking forward to delivering a really special experience to our community." - Producing Artistic Director Stephanie Gularte Rye Mullis will be making his American Stage in the Park directorial debut and Shain Stroff (SPAMALOT and HAIRSPRAY) will be returning as choreographer.
    [Show full text]
  • To Download the Song Lyrics
    THE PRODUCERS Lyrics as in Film 1 “OPENING NIGHT” First Nighters But never like this! Max Chorus men Ahhhhh! We can do it, we can do it, Opening night... Max Bialystock has done it We can do it, me and you. again! We can do it, we can do it, Chorus women We can make our dreams Opening night... First Nighters come true. The songs were rotten, Chorus The book was stinkin', Max It's opening night! What he did to Everything you've ever Shakespeare, wanted Usherettes Booth did to Lincoln! Is just waiting to be had. It's Max Bialystock's latest Beautiful girls, wearing show, Workman nothing but pearls, Will it flop or will it go? We had this made up Caressing you, undressing The cast is taking its final special for Max you, bow, Bialystock… And driving you mad! Here comes the audience Ha, ha, ha. now! Leo The doors are open; First Nighters No! They're on their way... We couldn't leave faster... Let's hear what they have Max to say! Usherettes Bloom! Bloom, wait a What a disaster! minute now. Hear me out. Men First Nighters Just think about it. He's done it again, First Nighters We can do it, we can do it, He's done it again. We are still in shock, This is not the time to shirk. Who produced this We can do it, you won't rue Women First Nighters schlock? it, Max Bialystock has done it That slimy, sleazy Max Say goodbye to petty clerk.
    [Show full text]
  • “Isn't It Swell... Nowadays?”: the Reception History of Chicago On
    “Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium.
    [Show full text]
  • Receive 10% Off When You Select 6 Or More Broadway Performances, Artist Shows, Or Northwest Florida Symphony Orchestra Concerts
    2018 2019 SEASON Broadway Shows Featured Artists Northwest Florida Symphony Orchestra New This Season: President’s Speaker Series Season package available! Receive 10% off when you select 6 or more Broadway performances, Artist shows, or Northwest Florida Symphony Orchestra concerts. MATTIE KELLY Northwest Florida State College MATTIE KELLY Northwest Florida State College MATTIE KELLY Northwest Florida State College UPCOMING GALLERY EVENTS 2018 - 2019 August 20 – November 2, 2018 AQUIFERious, featuring Margaret Ross Tolbert, Jill Heinerth, Eric Hutcheson, Mark Long, Tom Morris, and Georgia Shemitz. Curated by Margaret Ross Tolbert in the McIlroy, Holzhauer, and Corridor Galleries. November 16 – December 8, 2018 Holiday Spotlight on the Permanent Collection January 22 – March 1, 2019 Len Davis’ A Thousand Words series in the Holzhauer Gallery March 29 – April 26, 2019 Annual Arnie Hart Juried Student Exhibition in the McIlroy Gallery with the Annual Arts Faculty Exhibition in the Holzhauer Gallery May 18 – June 21, 2019 27th Emerald Coast National Juried Exhibition in the McIlroy Gallery with Isaac McCaslin, 2018 Best-in-Show Winner, in the Holzhauer Gallery Gallery Hours: Monday - Friday, 10 a.m. - 4 p.m. Open 90 minutes prior to most Mattie Kelly Arts Center Mainstage performances. www.MattieKellyArtsCenter.org | (850) 729-6044 | [email protected] 2 M K A C M K A C 3 2018 -2019 Northwest Florida Symphony Orchestra at Northwest Florida State College Concert Season Tchaikovsky’s 4th Featured Artist Yinuo Wang - piano Tchaikovsky’s 4th September 15, 2018 at 7:30 p.m. Tickets: $25 Join our community as we welcome Maestro Devin Patrick Hughes for the Symphony’s opening night concert as the dramatic and electrifying come to life with Tchaikovsky’s Fourth Symphony.
    [Show full text]
  • GTB Investor Packet
    “A LAUGH OUT LOUD MUSICALPRO FOR EVERYONE!” - BroadwayWorld TheProducersPerspective.com www.GettinTheBandonBroadway.com Broadway – 2014-2015 Season The information contained in these documents is confidential, privileged and only for the information of the intended recipient and may not be used, published or redistributed without the prior written consent of Davenport Theatrical Enterprises, Inc. Copyright © 2016 Davenport Theatrical Enterprises, Inc. TABLE OF CONTENTS A Note from Ken Davenport .............................................................................2 Synopsis ........................................................................................................3 The Original Production ..................................................................................4 The Creative Process ......................................................................................5 Creative Team ................................................................................................6 Press ...........................................................................................................10 Budget & Projections ...................................................................................16PRO The Materials ...............................................................................................31 The Opportunity ............................................................................................32 Contact ........................................................................................................33
    [Show full text]
  • After the Pilot Project
    MATERIALS WORLD FEATURE Angle grinders and aeroplane bellies Left: A chair that rocks on two large Waller pads outside in bare feet, his bandaged thumb pointing across the water. It is fuselage ribs. only a mile from one of the UK’s commercial arteries, but the river is peaceful. The After the summer sky ripples on its mud-brown complexion. Lime-green algae stain the banks. There’s An ancient tugboat hugs the dock below. The owners bought the boat for £1 on something condition that they kept it in service. Waller and Dwyer also rejuvenate the obsolete, very satisfying but they must make a living in the process. pilot project During the TV programme, the designers had to find ways of upcycling every about last fibre of the aeroplane. Now, they have the luxury of the smash-and-grab job. [upcycling] Whenever they hear of a decommissioned aeroplane arriving in Durham Tees Valley things that International Airport (featuring complementary scrapyard), they pack their angle grinder and haggling boots, and make for the north. Once aboard a knackered Is it a bird box? Is it a plane? Eoin Redahan visited the would have aeroplane, they quickly set about denuding the craft of its armrest covers, magazine Aircraft Workshop in London, where decommissioned been thrown racks and air ducting. aeroplanes turn into the unexpected. away. Waller says, ‘If you know the rest of the aeroplane is going to scrap, you can just take an angle grinder to the belly of it – knowing what bits of the pipes make good bird boxes – and cut them out.
    [Show full text]
  • The Changing Fan/Producer Relationship in Television As Demonstrated by Supernatural
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-10-2013 12:00 AM We’re on This Road Together: The Changing Fan/Producer Relationship in Television as Demonstrated by Supernatural Lisa Macklem The University of Western Ontario Supervisor Carole Farber The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Lisa Macklem 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons, and the Television Commons Recommended Citation Macklem, Lisa, "We’re on This Road Together: The Changing Fan/Producer Relationship in Television as Demonstrated by Supernatural" (2013). Electronic Thesis and Dissertation Repository. 1748. https://ir.lib.uwo.ca/etd/1748 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WE’RE ON THIS ROAD TOGETHER: THE CHANGING FAN/PRODUCER RELATIONSHIP IN TELEVISION AS DEMONSTRATED BY SUPERNATURAL Monograph by Lisa Macklem Graduate Program in Media Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Lisa Macklem 2013 Abstract This thesis explores the changing relationship between fans and producers of television. The traditional hegemonic relationship between these two groups has changed in the digital age giving fans more access to the production process than ever before.
    [Show full text]
  • Michael Winn Johnson Musical Director
    Director: Michael Winn Johnson Musical Director: Michael Grieco Choreographer: Judy Gibson Producers: Robert Lachance and Dot Routledge Stage Manager: Jayda Woods Executive Producer: Ed Ho Assistant Producers: Jan Harvey and Duane White ABOUT LITTLE SHOP OF HORRORS: A deviously delicious Broadway and Hollywood sci-fi smash musical, Little Shop Of Horrors has devoured the hearts of theatre goers for over 30 years. Howard Ashman and Alan Menken (Disney's The Little Mermaid, Beauty And The Beast, and Aladdin) are the creative geniuses behind what has become one of the most popular shows in the world. The meek floral assistant Seymour Krelborn stumbles across a new breed of plant he names "Audrey II" - after his co-worker crush. This foul-mouthed, R&B-singing carnivore promises unending fame and fortune to the down and out Krelborn as long as he keeps feeding it, BLOOD. Over time, though, Seymour discovers Audrey II's out of this world origins and intent towards global domination! INFO NIGHT: Thursday, October 10th at 7:30pm AUDITIONS: Wednesday, October 23 from 7:30 pm – 10:30 pm (Dance call at 8:30 pm) Thursday, October 24 from 7:30 pm – 10:30 pm (Dance call at 8:30 pm) Saturday, October 26 from 1:30 – 8:30 pm (Dance call at 2:30 and 6:00pm) CALL-BACKS: Monday, November 4th from 7:00 – 11:00pm INFO NIGHT/AUDITION/CALL-BACK LOCATION: SMT’s Unit, The Estate — 51 Estate Drive, Scarborough, ON (Progress and Markham) REHEARSAL DATES: Rehearsals begin Sunday, November 17th and then continue: Mondays 7:15 to 10:30 pm Wednesdays 7:15 to 10:30 pm Sundays 1:00 to 6:00 pm There may be rehearsals over Christmas break.
    [Show full text]
  • Personnel Production Dates General Description
    Book by Mel Brooks & Thomas Meehan Music & Lyrics by Mel Brooks PERSONNEL Artistic Director .......................... Steven Glaudini Costume Coordinator .................. Carlotta Malone, Director .............................................. Larry Raben Roz Lehman & Renetta Lloyd Choreographer.................................... Karl Warden Lighting Design ......................... Jean-Yves Tessier Musical Director/Conductor ......... Lyndon Pugeda Sound Designer ...................................... Jim Zadai Managing Director ............... Colleen Kollar Smith Stage Manager ............................ Stanley D. Cohen Technical Director ................................ Justin Hall PRODUCTION DATES Callbacks .................................. March 3 & 4, 2019 Opening ............................................ June 12, 2019 First Non-Equity Rehearsal.............. May 11, 2019 Closing ........................................... June 29, 2019* First Equity Rehearsal ...................... May 27, 2019 *subject to makeup or extension performance GENERAL DESCRIPTION A scheming producer and his mousy accountant aim to produce the biggest flop on Broadway in Mel Brooks' laugh-out-loud spectacle. The Producers once again sets the standard for modern, outrageous, in-your-face humor. It is a truly "boffo" hit, winning a record twelve Tony Awards and wowing capacity crowds night after night. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious
    [Show full text]
  • THE PRODUCERS ___By Mel Brooks March, 1967
    THE PRODUCERS _____________ by Mel Brooks March, 1967 Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library INT. DAY. HALLWAY OUTSIDE OF MAX BIALYSTOCK'S OFFICE. CLOSE-UP OF LITTLE OLD LADY. She blows a kiss and WAVES GOOD-BYE. CUT TO CLOSE-UP OF MAX BIALYSTOCK. HE RESPONDS WITH SIMILAR GESTURES. CAMERA PULLS BACK TO FULL SHOT. LEGEND ON FROSTED GLASS OF BIALYSTOCK'S OFFICE DOOR READS: MAX BIALYSTOCK - THEATRICAL PRODUCER LITTLE OLD LADY BEGINS TO DESCEND STAIRWAY. SHE STOPS, TURNS, BLOWS ANOTHER KISS AND ONCE MORE WAVES GOODBYE. BIALYSTOCK GRACIOUSLY ANSWERS IN KIND. BIALYSTOCK Don't forget the checkee. Can't produce playees without checkees. LITTLE OLD LADY You can count on me-o, you dirty young man. CAMERA BACK TO BIALYSTOCK'S FACE FROZEN IN A LITTLE GOODBYE SMILE. THE LITTLE OLD LADY'S FOOTSTEPS. BEGIN TO FADE. BIALYSTOCK'S FACE QUICKLY RESUMES ITS NORMAL EXPRESSION -- DESPAIR AND DISGUST. HE THEN REACHES INTO HIS VEST POCKET, PULLS OUT AN OLD-FASHIONED, POCKET WATCH AND EARNESTLY CONSULTS ITS FACE. CAMERA STAYS WITH HIM AS HE RUSHES INTO HIS OFFICE. BIALYSTOCK MOVES WITH A QUICK SHUFFLING GAIT TO HIS DESK. FROM THE TOP OF IT HE PICKS UP A FRAMED PHOTOGRAPH. CAMERA INSERT: CLOSE-UP OF PHOTOGRAPH. IT IS FACE OF LITTLE OLD LADY WHO HAS JUST LEFT. CAMERA BACK TO BIALYSTOCK. HE OPENS DESK DRAWER. IT IS FILLED WITH TAGGED KEYS. HE PICKS UP A KEY. CAMERA INSERT: TAG ON KEY READS: INVESTORS FILE. CAMERA BACK TO BIALYSTOCK. WITH PHOTOGRAPH IN HAND, HE MOVES ACROSS HIS OFFICE TO A LARGE, DOUBLE-DOORED CABINET.
    [Show full text]