Music and Lyrics by Stephen Sondheim WELCOME
Director – Evan Knoble Music Director – Tonino Berghella Vocal Director – Talaylin Zeppa
Production Co-ordinator - Michelle Robertson WELCOME
Those who make it through the auditions and cast selection process will be joining us on a wonderful journey of passion and purpose as we explore some of the darker sides of the human psyche.
For those who are relatively new to the theatre, you will have an opportunity to learn new skills and, for the “old hands”, you will have a chance to hone your skills as we explore in depth the characterisation and emotional congruence of the roles. About the Director...
It is the role of the Director to organise and oversee the interplay of space, time, movement, sound and light on stage in such a manner that, with the help of the cast and crew, the script comes to life in front of the viewing audience. Prelude...
In Victorian London, the barber Benjamin Barker is married to the gorgeous Lucy and they have a lovely child, Johanna. The Lucy’s beauty attracts the attention of the corrupt Judge Turpin, who falsely accuses the barber of a crime and sentences him to transportation to an Australian penal colony. In Barker’s absence Judge Turpin abuses Lucy. SYNOPSIS After fifteen years in exile, Barker returns to London under the new identity of Sweeney Todd, assisted by Anthony Hope, a sailor who rescued him from a raft in mid-ocean.
He meets the widow Mrs. Lovett who is the owner of a meat pie shop who tells him that Lucy swallowed arsenic many years ago, and Turpin assigned himself guardian of Johanna.
Seeking revenge against Turpin, Todd opens a barber shop above Lovett’s store, initiating a crime rampage against those who made him suffer and lose his beloved family.
What makes Sondheim’s music CHALLENGING?
•Combinations of simple and complex rhythms
•Clashing chords and harmonic intervals
•Intricate harmonies
•Use of light motif’s to represent characters
•Using the music to show a place and themes COSTUMING Costume designs will be based on 1846 London and will show; Social Class Occupation etc...
COSTUMING Preliminary Sketches
COSTUMING Preliminary Sketches
COSTUMING Preliminary Sketches
SET DESIGN Will be adjusted to the limitations of the Rosebud Memorial Hall
SET DESIGN The set will open out to reveal the second level
SET DESIGN
The set will be predominately darker colours to allow for spot lighting cross- fades to represent scene changes without the light spilling into areas not required in that particular scene.
THE BARBER’S CHAIR A fully functional barber chair that turns into a slide for body disposal is one of the signature set pieces of this production.
The chair is currently under construction in my workshop.
1982 BROADWAY VERSION As published on Astral’s website in March this year, we are looking at producing the Broadway version of Sweeney Todd. Hopefully, everyone has read this and rehearsed the 1982 Broadway version for their auditions.
This was the last production in which Stephen Sondheim had direct input and, as such, it is as near to his vision as we can get.
1982 BROADWAY VERSION Stephen Sondheim has said that if people insist on putting Sweeney Todd into a category it would be black comic operetta, which is as good a way as any of defining its uniqueness. If you are going to have a barber who slits the throats of his customer team up with a woman who bakes the corpses into meat pies, then black comedy would be the way to go 1982 BROADWAY VERSION Although it sounds closer to a horror movie, Sweeney Todd is, at heart, a pitch-black comedy. That's how Len Cariou and Angela Lansbury played it when they originated the roles of Sweeney and Mrs. Lovett, respectively, in the show's 1979 Broadway debut. (That production was captured on film in 1982—with George Hearn subbing for Cariou—and is considered by many Sondheim fans to be the definitive version of the musical.) Subsequent productions, including the acclaimed 2005 revival starring Patti LuPone, have downplayed the story's inherent absurdity, and the Tim Burton movie follows their lead. 1982 BROADWAY VERSION What I think makes Sweeney Todd so marvellous is that it mixes the dark comedy with chilling horror. For the most part the comedy is carried by Mrs. Lovett, starting with The Worst Pies in London, while Todd provides the chills, beginning with the hauntingly beautiful My Friends, sung to his razors. Of course, it is A Little Priest that brings these two elements together, but while it is no doubt the show's signature piece it is not the supreme dramatic moment. That moment comes right before that glorious end to Act I when Todd sings Epiphany. Principal Roles •Sweeney Todd / Benjamin Barker – Bass-Baritone or Baritone – 40-60yo Morose and vengeful; •Audition Piece – No Place Like London
•Mrs. Lovett – Contralto or Mezzo-soprano – 40-60yo Cheerful, talkative, but amoral •Audition Pieces - Worst Pies and By The Sea
•Anthony Hope – Baritone / Tenor – 20-40yo
•Audition Piece – Ah Miss OR Johanna
•Johanna Barker – Soprano – 15-30yo Todd’s beautiful young daughter •Audition Piece – Green Finch and Linnet Bird Principal Roles cont... •Judge Turpin – Bass or Bass-Baritone – 50+ yo A corrupt judiciary official •Audition Piece – Pretty Women
•Tobias Ragg – Tenor – 18-25yo A simpleton •Audition Piece – Not While I’m Around
•Beadle Bamford – Tenor / Countertenor – 35+ yo Turpin’s right-hand man and accomplice. •Audition Piece – Ladies in their Sensitivities
•Beggar Woman / Lucy Barker – Mezzo-soprano – 35+ yo A mad crone whose interjections go unheeded •Audition Piece – Alms Alms (Excerpt from No Place Like London)
•Adolfo Pirelli / Daniel O’Higgins – Dramatic Tenor – 35+ yo An Irish charlatan •Audition Piece – Pirelli’s Entrance
Ensemble
Ensemble – Full Range of Voices – 18+ Adult chorus members who will have various features and also move the sets occasionally while singing the chorus numbers
We require a mix of Sopranos, Altos, Tenors and Baritones. It is anticipated that the ensemble will be limited to 10 -12 people
Audition Piece – Ballad of Sweeney Todd
Ensemble - Features
• Soloists • Townspeople • Masquerade Guests • Bird Seller • Policeman • Barbershop Patrons • Jonas Fogg • Asylum Patients
Rehearsals Rehearsals will be Monday and Wednesday nights starting at 7.30pm and running until 10.30pm. Sunday Rehearsals will commence in February.
Rehearsal period will commence on Wednesday 25th November.
It is anticipated that we will have a Christmas break from after the Wednesday 16th Dec rehearsal until the beginning of the Monday January 11th rehearsal. This is a break of 25days during which it is hoped you will read your scripts and do some practice.
All cast will be expected to attend ALL rehearsals for which they have been called.
Rehearsal Materials Cast members will be issued with a Libretto which will be their responsibility to look after for the duration of the rehearsal process. •All issued Librettos will be numbered and signed for by individual cast members •Librettos are NOT to be marked up in anything but 2B or softer Grey Lead Pencil •Pages are not to be folded or “dog-eared” •Remove ALL markings and return librettos to the Director before the final night party by the person who signed for them •The fees Astral are charged for missing Librettos will be passed on to the person who has not returned their copy
Rehearsal Materials
If you want a copy of the Libretto or complete Vocal Score that you can hi-light, please contact Evan for a downloadable copy you can print and use in any way you like.
Auditions Book your auditions tonight or by; • ringing Evan on 0408 032 641 or • Emailing Evan at [email protected]
Arrive 10 minutes before Audition time to fill out the necessary paperwork
What to bring; • Backing track on CD or IPod • Drink • Smile
In Community and Amateur Theatre You are ALWAYS auditioning! What are we looking for? Talented TEAM players who will work with passion and purpose.
9 Principal Roles plus an ensemble of 12 performers who, apart from filling smaller feature roles, will be also required to move the sets to provide a seamless presentation of the show.
A cast who will help with the set building, marketing, publicity, costuming, rehearsing and performance of this production.
What are we looking for?