[title of show] Information and Audition Guidelines
IMPORTANT NOTE: We are producing this show during the worldwide
COVID pandemic. Safety and the health and well-being of all involved is our primary concern. We will never put anyone “at risk” at any time, for any reason. If, as a member of this company, you ever feel unsafe,
please speak up immediately.
Our goal is to produce this show COVID-free, with everyone
remaining healthy through the entire process, mid-February through
April 18. If the pandemic worsens and the plan outlined below is not
feasible, we will change our plans immediately in accordance with
university and Connecticut state regulations.
About the Show
[title of show] is the ultimate meta-musical; it is a musical play about 4 people writing a musical play about writing a musical play. The play is, therefore, largely autobiographical (a well-chosen and edited autobiography!) because the four characters telling the story—Jeff, Hunter, Heidi, and Susan—are the four real-life people who created [title of show].
Plot The play—and the real story—begins with Hunter forwarding his best friend Jeff an e-mail about a new musical theatre festival soliciting scripts. They have 3 weeks to write and submit a new piece…and they haven’t started. They engage their friends Heidi and Susan to help them out. When they have to fill in the blank for the title of the show, the space already says “[title of show]” so they decide to leave it as is. The show gets accepted at the Festival (the first year of the real New York Musical Theatre Festival— 2004) and then it moves on from there—through workshop productions to a successful run off-Broadway at the Vineyard Theatre to—finally— Broadway in 2008 at the Lyceum Theatre. In order to keep the momentum going towards a Broadway production after the show closed at the Vineyard, Hunter and Jeff created a podcast called the [title of show] show (still on YouTube, check it out) which really did attract financial backers to bring it to Broadway. The script that we are performing includes the whole story; they continued to rewrite the show as things developed and they
finally made it to the Great Bright Way, Broadway.
Characters
The four characters are the four creators, who also were the four original actors who performed the show in all its New York City productions. You can Google the show and see them in action; there are a lot of YouTube clips. We’re providing some additional thoughts about the characters shared by Director, Musical Director, and Movement Director/Choreographer.
All four are the “leads” and equally important roles; they all sing a lot and carry the whole show together. We’re looking for strong singers who can readily match pitches and sustain their voices through a 100-minute show.
Jeff—Composer/Lyricist. Exudes a softness (personality? physicality?); seriousness of purpose—really committed to this project; smart, fun, and funny; principled; exudes a quiet confidence; a bit naive (gosh, gee whillikers); down-to-earth.
Vocal Range: in the bari-zone with occasional high notes
Hunter—Book Writer. REALLY ambitious; quick wit with perhaps movement/physicality to match; Driven (capital D); ABH (All Business Hunter); Horny! (and that's part of his ambition and drive); vulnerable and a little insecure, which he masks with his wit—in this way, he is a soul mate to his friend, Susan.
Vocal Range: in the bari-zone with occasional higher notes
Susan—An actor/singer friend of Hunter’s. Funny, with a quick wit to match Hunter's; lands zingers; Smart; acerbic but vulnerable (the acerbic zingers are there to mask the vulnerability); hangs on to her day job, bitching but taking it seriously; "downtown, funky, sassy" per Heidi but Susan is the only one in the group who seems to have money and some stability; deep down a little girl from Ohio who is a bit insecure in the “Big City.”
Vocal Range: mezzo/belt, tending lower
Heidi—An actor/singer friend of Jeff’s. Ms. Broadway talent---big, bold, confident; Big Smile; most experienced performer of the group; exudes easy comfort; "uptown, fancy, Broadway" per Susan but I don't think Heidi is "fancy"--she isn’t rich but has been supporting herself as an actor without "day jobs" her whole life.
Vocal Range: mezzo/belt, tending higher
Production FAQ
Where will rehearsals take place? We plan to rehearse and perform the show in the Wien Black Box Theatre at the Quick Center with the performers “live” and in-person. The show will be livestreamed to audiences via YouTube LIVE—everyone will come together in the Black Box to broadcast each performance “live,” just as you would for live television.
What safety precautions are in place? We are creating COVID-safe acting “pods” for each of the four actors, which will allow them to safely remove their masks. The minute they leave the pod, the mask goes back on and everyone must maintain at least a 6-feet distance from one another at all times. The pod will feature a green screen, video camera, a microphone, its own ventilation system, filtering air moving in and out of the pod, and whatever props/costumes the actor needs. The pod will have large plexiglass windows so the actors can see the OTHER actors as well as the conductor and pianist, who will be in the middle of the floor. The Director and Movement Director will be present and masked and maintain a proper distance at all times. They will each have monitors so they can watch the actors performing on screen. Because we are sharing the same space, the music and sound will be automatically synchronized, thus avoiding the BIG problem with zoom productions where syncing sound exactly is impossible. All production personnel will have COVID tests once a week to ensure everyone’s safety.
If you are auditioning, you must be willing to follow our plan—to rehearse and perform “live”—as outlined above, knowing that things must and will change should anyone get sick or the pandemic significantly worsens. Fingers crossed that we shall succeed!
What time/How often will we rehearse? Regular rehearsal days and times are as follows: Monday – Thursday: 7:30PM – 10:30PM (possibly 11:00 PM closer to opening) Sunday: Usually a four-hour block from 2:00 PM – 6:00 PM (this time block may be adjusted to suit company needs)
IMPORTANT: We will take Easter break from Thursday, April 1st through Monday, April 5th but will have a full 8-hour rehearsal on Tuesday, April 6th. This includes a full dinner break. Time TBD.
NOTE: Before your audition, you will be required to fill out a conflict sheet. Here, you will list your evening classes, university obligations (clubs, Mass, etc.), appointments, and other life events (weddings, funerals, etc.). If you are cast, we will honor and work around all conflicts as we schedule rehearsals. At the first rehearsal, you will review your conflicts sheet again to ensure that you’ve listed any and all conflicts. Make sure you carefully check through all syllabi and talk with your family to ensure that you haven’t forgotten anything!
With the exception of emergencies, you are required to be at all rehearsals as listed. If anything comes up at any time about a potential conflict, you must speak to the stage manager immediately.
If university faculty or others spring “new mandatory requirements for attendance at outside events,” tell them you have an obligation to the show and show them your signed contract (you will receive a copy) and the rehearsal schedule; if that fails, or if the person is difficult, give Dr. LoMonaco the particulars and she’ll negotiate for you.
Technical and Dress Rehearsals: Technical rehearsals will take place Saturday, April 10th – Sunday, April 11th. Following that, we will have two dress rehearsals before opening night on Monday, April 11th. and Tuesday, April 12th. NOTE: There will also be a school matinee on Tuesday, April 12th starting in the late morning. All production personnel will arrange with professors to miss class that day between 9 AM and 3 PM.
When will we perform? The performance schedule is as follows: Wednesday, April 14: 8:00 PM (Opening night) Thursday, April 15: 8:00 PM Friday, April 16: 8:00 PM Saturday, April 17: 2:00 PM matinee and 8:00 PM performance Sunday, April 18: 2:00 PM matinee* *Strike is immediately following the Sunday afternoon performance.
AUDITION FAQs
Location: Kelley Theatre Stage, Quick Center for the Arts Auditions: Monday, February 15, beginning at 7:00 PM Everyone wishing to audition MUST sign up in advance! Fill out the audition form at the end of this packet and send it to the stage manager, Kierstin Jones ([email protected]) no later than 5:00 PM on Sunday, February 14th. You will be assigned a time slot. (For everyone’s safety, only one person will audition at a time and will not overlap with anyone else). You will be asked to arrive 15 minutes before your allotted time and encouraged to warm up ALONE for your audition in the Wien Black Box theatre adjacent to the Kelley stage. At your appointed time, Kierstin will bring you into the Kelley Theatre for your audition.
Safety Precautions The general audition is designed to make you feel comfortable, safe, and at ease—we want to see and hear you at your best. The audition will last about 20 minutes. To ensure your safety, every person will audition ALONE on the Kelley Stage (which is HUGE) for Dr. L, Prof. Ciavaglia, and Brad Roth.
What should I wear to my audition? Wear comfortable clothing you can move in and sneakers or other soft, pliable footwear that will not slip.
What will I need to prepare for my audition? We encourage you to fully warm-up your voice, both speaking and singing, and body at the Quick Center in the 15 minutes you will have before the audition. There are THREE components to this audition: A. Musical portion (5-8 min). Please prepare a 32-measure musical excerpt and bring sheet music for the pianist. You are free to choose a piece from [title of show], or any musical theatre piece that you think showcases your voice best. Cast album on YouTube: https://youtube.com/playlist?list=PLyF3JIfIN8VN8z8_BrFnMizBulD_pNT0S Cast album on Spotify: https://open.spotify.com/album/5CPwQszmxhQzta7CA7C2yG?si=XeGeMHgNRZacFV1 6mf0YAQ Cast album on Apple Music: https://music.apple.com/us/album/title-of-show-soundtrack-from-the- musical/1306111495
B. Acting portion (5-6 min). Please prepare a two-minute monologue of your choice. This may be any of the following:
• a prepared monologue that you have memorized and rehearsed • a monologue you choose from those provided in this packet • A story about yourself or something you find interesting • A joke or some stand-up comedy (at least two minutes) • Perform/read/recite a poem
Please take the time to plan, prepare, and rehearse out loud before the audition. Choose particular movements and gestures that will make your performance more engaging and dynamic.
C. Movement/Dance portion (5-6 min). We will “play” with gestures and movements of the whole body, beginning with what you do naturally and spontaneously during your monologue. In the spirit of discovery and the uncovering/revealing of the choreography we will be creating together with you for the show, we may ask you to make things bigger or smaller, mis-match the timing of your movement and vocal delivery, do an exaggerated “torso only” version, etc. We will also begin to explore how you might choose to move in the confined space that the camera will frame inside your personal “pod.”
Callbacks: Tuesday, February 16, beginning at 7:00 PM Everyone will leave the audition with a short monologue from [title of show]. If you are called back, you will receive an email from stage manager Kierstin with special callback material and a 25-minute time slot which will coincide with one other person. You will each be brought onto the Kelley stage to sing separately (the other person will wait, masked, in the lobby). Then both of you will be brought in (masked) onto the Kelley stage—20 feet apart—to complete the acting and movement portion of the audition together. (1) You will perform the [title of show] monologue you received before audition (2) You and your partner will perform dialogue sections from the play with movement directions and vocal adjustments throughout. Use this to show your range as actors, your ability to respond to your acting partner in the moment, and your overall playfulness and willingness to be creative and take acting risks. It will also be great to see how well you articulate your words with masks on!
After callbacks, all auditionees will receive an email with the final casting decision. The first read and sing-through will be on Wednesday, February 17th at 7:30 PM.
NOTE: Should auditions extend into Tuesday, February 15th because of turnout, callbacks will be held on Wednesday and the first read-through will be held on Thursday.
Directors’ Requests
Take the time to carefully rehearse your audition and callback music and monologues OUTLOUD and add appropriate movements and gestures. “Sell” yourself and your work! We will have also ask you to create movement sequences (both in your solo audition and in your callback with your partner) that are creative and interesting. Be sure to:
• Make strong choices • Take risks (safely!) • Listen and be open to adjustments • Be kind and supportive to one another • Be professional and…have a good time! (perhaps THE most important thing!)
Good Luck and Merde! (what the French say instead of “Break a Leg!”)
Course Credit
All Actors and other TF Production Personnel receive a graded, one-credit practicum course credit for their work on the show. You will receive a syllabus at the first rehearsal with information on grading. If you work hard and faithfully on the show, fulfilling your obligations on your actor contract, and write a short reflection paper at the end, you will receive an “A” for your work. It’s a nice GPA boost and also honors and documents your great work on your official university transcript.
Artistic Team
Dr. Marti LoMonaco (Dr. L)—Director ([email protected])
Dr. Michael Ciavaglia (Michael)—Musical Director ([email protected])
Prof. Brad Roth (Brad)—Movement Director/Choreographer ([email protected])
Prof. Lynne Porter (Lynne)—Producer and Scenic Designer ([email protected])
Prof. Julie Leavitt-Learson (Julie)—Costume Designer/Props Mistress ([email protected])
Prof. Anne Kendall (Anne)—Technical Director ([email protected])
Kierstin Jones, ’21—Stage Manager ([email protected])
Questions? Concerns?
Questions on health and safety concerns should be addressed to the Producer, Prof. Lynne Porter, [email protected]
Questions on character and the overall show should be addressed to the Director, Dr. L, [email protected]
Questions on Singing and Music should be addressed to the Musical Director, Prof. Ciavaglia, [email protected]
Questions on Movement and Choreography should be addressed to the Movement Director, Prof. Roth, [email protected]
IF you need to reschedule your audition or callback OR a conflict or emergency arises, immediately contact the Stage Manager, Kierstin Jones [email protected]
We Look Forward to Seeing You At Auditions!
AUDITION FORM HERE