AUDITION INFORMATION

THE DROWSY CHAPERONE Music & Lyrics by Lisa Lambert and Greg Morrison Book by Bob Martin and Don McKellar

Directed by Naomi Rose-Mock

Audition Dates: June 30-July1, 2019 Performance Dates: Aug 15-Sept 1 2019 CONTENTS WELCOME ...... 3 ABOUT OUR AUDITIONS...... 4 THE PLAY ...... 5 ABOUT THE DIRECTOR...... 5 IMPORTANT DATES ...... 6 CHARACTERS...... 7 AUDITION INSTRUCTIONS...... 9 SIDE...... 10 CREDITS...... 12 AUDITION FORM...... 13

2 WELCOME Thank you for your interest in auditioning for a Theatre Tallahassee production! If you’ve auditioned for us before, welcome back! If this is your first time auditioning at Theatre Tallahassee, we’re thrilled to have you! We’ve been around now for 70 years, and we wouldn’t have lasted so long without new people, new talent, and new voices. Whether you’re a veteran performer who just moved to town or you’ve never been on stage before but really want to try, we’d like to encourage you to audition for shows at Theatre Tallahassee. We’re aware that auditioning can be an overwhelming experience, even if you’ve done it a hundred times before. We’ve put this information booklet together for you to help you learn a little more about the play, the characters you will be reading for, and to give you some idea of what to expect during auditions. Please read over the character list and director’s comments, and pay attention to any specific audition requirements for this show. Then review any script sides provided. We’ve included a printable audition form at the back of this information booklet that you can fill out and bring with you. You may also bring a headshot and/or resume, if you have one, but they are not required. Break a leg!

BECOME A PART OF OUR LEGACY...

We’ve been around for over 70 years, and produced more than 460 shows.

This season, we hope you’ll become part of our Theatre Tallahassee family. 3 ABOUT OUR Theatre Tallahassee auditions are open — we try our best to discourage directors from pre-casting roles. AUDITIONS Know what you’re auditioning for . Most directors provide script sides in this packet for you to study ahead of time. Do a little research online about the play. We also keep copies of the script at the theatre, so if you would like the opportunity to read it ahead of time, you can drop by during business hours and we’ll let you peruse it at Theatre Tallahassee.

Audition requirements may vary from show to show . Some directors like cold readings. Some might ask for monologues. For musicals, you may be asked to bring music, or wear dance clothes. Read the audition notes in this booklet to be prepared.

Audition formats vary depending on director . Some directors prefer closed auditions, where you will wait in another room until you are called in. Others like having everyone in one room. During closed auditions, if you bring someone to support you they may be asked to wait in the other room (unless you are a minor).

We know that it can be disappointing not to get a part . We always have more people audition than we have roles for, and there are many factors that directors have to weigh when casting. We encourage you to audition often. Just because you weren’t right for one role, doesn’t mean that you won’t be perfect for another.

We encourage you to get involved in other ways . Helping paint or build sets, costumes or props, working backstage, or volunteering to usher are great ways to meet people, network, and become part of our theatre family.

We look forward to seeing you on stage. Break a leg!

MAINSTAGE This production is part of Theatre Tallahassee’s Mainstage season. If you’ve never performed on our Mainstage, here’s a quick list of what SEASON you should know. SHOWS • Mainstage productions are performed in our main auditorium, which seats approximately 270 people.

• Rehearsals usually start about 5-6 weeks before the show opens.

• Opening night is usually held on a Thursday evening.

• Performances run for three weekends, on Fridays, Saturdays, and Sundays. The second Saturday is a double show day, with both a matinee and an evening performance. Sundays are matinees.

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THE PLAY The curtain rises on a present-day musical theatre fanatic eager to tell you about his favorite Broadway musical — “The Drowsy Chaperone.” He’s the ultimate Everyfan and “Drowsy” is his guilty pleasure. As he begins listening to the rare cast recording, the show cleverly and magically blooms to life, telling the hilarious tale of a pampered Broadway starlet and her debonair fiance, an overzealous producer, a dizzy chorine, the Latin lover and a couple of bumbling gangsters. Ruses are played. Hi-jinks occur. And the plot spins everyone into musical comedy euphoria. Man in Chair’s infectious love of “The Drowsy Chaperone” speaks to anyone who has ever been transported by the theatre.

ABOUT THE NAOMI ROSE-MOCK DIRECTOR Naomi Rose-Mock is the veteran director of close to 100 musicals in the Big Bend region. She is excited to be returning to Theatre Tallahassee having most recently directed Savannah Sipping Society in the Studio in 2018. Other musicals at Theatre Tallahassee include West Side Story, Evita, La Cage aux Folles, Cabaret and The Producers. When not directing, Naomi makes her living as a voice and acting coach to her studio of talented private students. Theater Tallahassee 6

IMPORTANT AUDITIONS Sun, Jun 30 & Mon, July 1 at 7pm DATES please arrive 10-20 min early for sign-in JULY Call Backs S M T W T F S Tues,July 2 at 7pm 30 1 2 3 4 5 6 By director invitation only. 7 8 9 10 11 12 13 REHEARSAL PERIOD 14 15 16 17 18 19 20 July 3-Aug 28 7-10pm, Sun-Fri, 21 22 23 24 25 26 27 July 4 weekend TBD after casting NOTE: See calendar for potential rehearsal 28 29 30 31 dates. Subject to change after casting. Tech Week August 5-9 Crew integration, cue-to-cue, tech AUGUST rehearsals. S M T W T F S Please try to avoid schedule conflicts during this week 1 2 3 Dress Rehearsals 4 5 6 7 8 9 10 Aug 12-14 11 12 13 14 15 16 17 required attendance 18 19 20 21 22 23 24 actors must be able PERFORMANCES to commit to all 25 26 27 28 29 30 31 performance dates & Aug 15-Aug 18 tech/dress rehearsals . Aug 23-Aug 25 Aug 30-Sept 1 Weeknight and Saturday evening performances are at 8 pm, with a 6:30 pm SEPTEMBER call time. S M T W T F S Second Saturday and Sunday matinee performances are at 2 pm, with a 12:30 pm 1 2 3 4 5 6 7 call time. 8 9 10 11 12 13 14 Pick Up Rehearsals OTHER 15 16 17 18 19 20 21 Aug 22 Held at director & stage manager’s 22 23 24 25 26 27 28 discretion. Keep dates open for potential rehearsals or benefit shows. 29 30 Closing & Strike Sept 1 Cast & Crew are required to participate in show strike. Please keep this evening free of conflicts. Theater Tallahassee 7

CHARACTERS MAN IN CHAIR Male The lonely broadway expert who guides us through the world of the show from his armchair. Strong acting and character singing. JANET VAN DE GRAAFF Female. Vocal range: Alto with big belt (G3-E5) Star of Feldzieg’s Follies who is conflicted about giving up her life on the stage to marry Robert Martin. Attractive, vivacious, outgoing personality. She loves being the center of attention and is the consummate 1920s starlet. Strong movement and special skills (acrobatics, juggling, etc.) a plus. ROBERT MARTIN Male, Vocal range: Tenor (C3 – Ab4) The groom-to-be who is deeply in love with Janet. He is the token 1920s leading man – debonair, dashing, and a matinee idol. He is cheesy, cheerful, and optimistic. Must be able to tap dance and roller skate. THE DROWSY CHAPERONE Female. Vocal range: Alto with strong belt (F3-D5) Janet’s alcoholic confidante. Care-free, often because she is drunk. An experienced “woman of the world” who couldn’t care less what the world thinks. A melodramatic diva to be reckoned with who gleefully chews the scenery and steals just about every scene she is in. Great comedic role. Think Liza Minnelli meets Tallulah Bankhead.. ALDOLPHO Male. Vocal range: Bass/Baritone + great falsetto (A#2-G4) Latin lothario. A womanizing cad who is very impressed with himself. He is confident, vigorous, and a buffoon. Vaudeville-style acting and fake Spanish/Italian accent required. Should have great comic timing. MRS . TOTTENDALE Female. Vocal range: Alto character voice (G3-Db5) A wealthy widow and host of the wedding. She is flighty, eccentric, often times forgetful, and funny. She is absolutely charming, bubbly and oblivious to the confusion her behavior generates in other people. UNDERLING Male. Vocal range: Tenor character voice (Ab2-G4) Mrs. Tottendale’s unflappable butler and manservant. He is stoic, dry-humored and sarcastic. A cross between Arthur Treacher and Niles the butler from The Nanny. Theater Tallahassee 8

MR . FELDZIEG Male. Vocal range: Baritone (Db3-Db4) Harried producer who will do anything to stop the wedding in order to keep Janet in the Follies. He is nervous, sarcastic, impatient, overbearing, and insensitive. KITTY Female. Vocal range: Soprano comedic belt (Bb3-F5) 1920s dumb blonde chorine. She is Mr. Feldzieg’s companion and will do anything to be a leading lady. A cross between Norma Cassady from Victor Victoria and Lena Lamont from Singin’ in the Rain. GEORGE Male. Vocal range: Tenor (F3-Bb4) Robert’s anxious best man. He is loyal, sincere, and nervous. Makes looking out for Robert’s interests his top priority so that the wedding will come off without a hitch. Must be able to tap. GANGSTERS 1 & 2: Male. Vocal range: Tenor (Db3-Gb4) Two jovial gangsters who are posing as pastry chefs. Typical 1920s Broadway gangsters full of word play and stylized movements. Good comic timing and dancing skills required. TRIX THE AVIATRIX Female. African American preferred. Vocal range: Alto (Ab3-Eb5) The brave and brash female aviator. She is sassy, sleek and a take charge kind of gal. May double in the ensemble.

ENSEMBLE 2 male. 2 female. Vocal range: soprano, alto, tenor, bass Strong dancing/singing ensemble. Theater Tallahassee 9

AUDITION Please prepare sixteen measures of the song of your choice —Broadway or Vaudeville style is preferred — and provide sheet music. An INSTRUCTIONS accompanist will be provided. A capella singing is highly discouraged.

Auditions will consist of performance of prepared song and learning a short dance combination. Please bring clothing and shoes suitable for a dance audition.

Callbacks will be at the invitation of the director and include reading and singing from the show.

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SIDE 1 I hate theatre. Well, it’s so disappointing, isn’t it? You know what I do when I’m sitting in a darkened theatre waiting for MAN IN CHAIR the show to begin? I pray. Oh, dear God, please let it be a good show. And let it be short, oh Lord in heaven, please. Two hours is fine, three hours is too much. And keep the actors out of the audience ... God. I didn’t pay good money to have the fourth wall come crashing down around my ears. I just want a story, and a few good songs that will take me away. I just want to be entertained. I mean, isn’t that the point? Amen. (pause) You know there was a time when people sat in darkened theatres and thought to themselves, “What have George and Ira Gershwin got for us tonight?” Or “Can Cole Porter pull it off again?” Can you imagine? Now it’s, “Please, Elton John, must we continue this charade?” It used to be, sitting there in the dark, you knew that when the show began you would be taken to another world, a world full of color and music and glamour. And you thought to yourself, “My God. When are they going to bring up the lights?” (lights up) Oh, how things have changed. Hello. How are we today? I’m feeling a little blue myself. You know, a little anxious for no particular reason, a little sad that I should feel anxious at this age, you know, a little self-conscious anxiety resulting in nonspecific sadness: a state that I call “blue”. Anyway, whenever I’m feeling this way, blue, I like to listen to my music. So, I was going through my records this morning—yes, records—and I was about to put on the sound track recording of Meredith Willson’ s THE MUSIC MAN. I had a craving for a young Ronny Howard. But then I said “No! Let’s have a treat! Let’s disappear for a while into the decadent world of the 1920’s. When the champagne flowed while the caviar chilled and all the world was a party” — for the wealthy anyway. So, I dug about and what did I find — (extracting a record) — but one of my favorite shows. Gable and Stein’s “The Drowsy Chaperone;” Remember? Music by Julie Gable, lyrics by Sidney Stein. It’s a two record set, remastered from the original recording made in 1928. It’s the full show with the original cast including Beatrice Stockwell as the Chaperone. Isn’t she elegant? And this is a full 15 years before she became Dame Beatrice Stockwell. Can you believe it? Let me read to you what it says on the back — it says “Mix-ups, mayhem and a gay wedding!” Of course the phrase gay wedding has a different meaning now, but back then it just meant fun. And that’s just what the show is — fun. So. Would you ... would you indulge me? Would you let me play the record for you now? I was hoping you would say yes. Theater Tallahassee 11

(He puts the record on the record player. He places the needle.) You hear that static? I love that sound. To me, it’s the sound of a time machine starting up. (The overture begins.) Alright now, let’s visualize. Imagine if you will, it’s November 1928. You’ve just arrived at the doors of the Morosco Theatre in New York. It’s very cold — remember when it used to be cold in November? Not anymore. November’s the new August now. It’s global warming — we’re all doomed — anyway ... It’s very cold and a heavy grey sleet is falling from the sky but you don’t care because you’re going to see a Broadway show! Listen! (He settles back and listens for a moment) Isn’t this wonderful? (He listens) It helps if you close your eyes. (He listens) (A kettle on the stove begins to whistle. MAN runs over to the stove and dances while he makes himself a cup of tea.) Overtures. Overtures are out of style now. I miss them. It’s the show’s way of welcoming you. “Hello, welcome. The meal will be served shortly, but in the meantime, would you like an appetizer?” That’s what an overture is, a musical appetizer. A Pu-pu platter of tunes, if you will. (He listens) Oh! Something new! What could it be? Sounds like a dance tune. Kind of rollicking. Maybe involving pirates! Don’t worry. There are no pirates. (He runs back to his chair as the music segues from a mono recording to a live orchestra.) Now. Here it comes. The moment when the music starts to build and you know you’re only seconds away from being transported. (The overture builds to it’s conclusion.) The curtain is going up. I can’t wait! CREDITS THE DROWSY CHAPERONE Music & Lyrics by Lisa Lambert and Greg Morrison Book by Bob Martin and Don McKellar Original Broadway production of The Drowsy Chaperone produced by Kevin McCollum, Roy Miller, Bob Boyett, Stephanie McClelland, Barbara Freitag and Jill Furman.

THE DROWSY CHAPERONE is presented through special arrange- ment with Music Theatre International (MTI). All authorized perfor- mance materials are also supplied by MTI. www.MTIShows.com

Director: Naomi Rose-Mock Musical Director: Max Brey Choreographer: Emma Kerr Stage Manager: Lauren Herod

THE THEATRE Theatre Tallahassee 1861 Thomasville Road Tallahassee, Florida 32303

Box Office: 850-224-8474 Admin: 850-224-4597

Theatre Tallahassee org. Facebook .com/TheatreTallahassee Twitter .com/TheatreTLH

12 AUDITION FORM Please fill out this form and bring it with you to auditions

Name: Auditioning for the following roles: Will you accept another role or ensemble, if offered: Vocal Range: Can you read music? o Yes o No

Email: Age:

Home Phone: Height:

Cell Phone: Hair Color:

I prefer to be contacted via: (check all that apply) o phone call o text message o email

Schedule Conflicts: (please list ALL schedule conflicts: vacations, weddings, school, work, etc.)

Previous Experience: (you may attach a resume instead)

Other Skills (Education, Accents, Juggling, etc)

Can you roller skate? Are you willing to learn?

If not cast, would you be willing to assist backstage? o Yes o No

How did you hear about these auditions? 13