Mamma Mia Info Pack

Total Page:16

File Type:pdf, Size:1020Kb

Mamma Mia Info Pack Holiday Actors 2020 Musical On a small Greek island, Sophie dreams of a perfect wedding — one which includes her father giving her away. The problem? Sophie doesn’t know who he is! Her mother Donna, the former lead singer of the 1970s pop group Donna and the Dynamos, refuses to talk about the past, so Sophie decides to take matters into her own hands. Sneaking a peek in her mother’s old diaries, she discovers three possible fathers: Sam, Bill, and Harry. She secretly invites all three to her wedding, convinced that she’ll know her father when she sees him. But when all three turn up, it may not be as clear as she thought! Told through the legendary music of ABBA, Mamma Mia! has become a worldwide sensation that has audiences everywhere dancing. LEAD ROLES Donna Sheridan (F) (Mezzo-Soprano E3-D5) - Sophie’s mother, the owner of the Taverna. Former lead singer of ‘Donna and the Dynamos’. Honest, straight and hard-working, she is the most naturalistic and vulnerable of the characters. Sophie Sheridan (F) (Soprano – F#3-E5) - Donna’s headstrong daughter, determined to have what her mother never had: a traditional family and a father to walk her down the aisle. Young, bright and energetic, she has lived all her life on the island and is ready to leave. Sam Carmichael (M) (Baritone D3-Ab4) - One of Sophie’s potential fathers and a wealthy architect. Sam has regretted leaving Donna all his life and now finds himself divorced and back in her presence. He is straight-laced, confident and composed. At times he is perhaps a little overbearing, but he is determined not to mess up the second chance he has been given… a very true and honest character within the chaos. Bill Austin (M) (Bari-tenor Bb2-F#4) - Another of Sophie’s potential fathers, a well-known travel writer. Bill has visited the far reaches of the earth, but never found what he’s really looking for. A real character. Bill has generally avoided the complexities of a relationship and now wonders if it’s too late. Lots of comedy and a golden heart within. Harry Bright (M) (Bari-tenor C#3-F#4) - Another of Sophie’s potential fathers and a respected London banker. Once a head-banging, partying musician who went down the straight road - at least with his career. He is quirky, in the closet and something of a romantic nostalgist. A nice guy, determined to make up for some past regrets and full of singing. Tanya (F) (E3-E5)- One of Donna’s oldest and best friends, Tanya has married several millionaires and discovered a lot more about plastic surgery than love - to the extent that she was ever looking. Wild, fun-loving and a big character, she flirts mercilessly with young men, happy to play, but not to stick around. Rosie (F) (E3-D5) - Donna’s friend, a former member of the Dynamos; unmarried, free- spirited and a renowned author of cookbooks. A character who has developed a confident, funny and self-deprecating exterior which masks her inner vulnerability. Mostly comic, yet one of the most poignant moments in the show in the heart of Act 2. Dances like nobody’s watching. FEATURED ROLES Sky (M) (Eb3-D5) - Sophie’s fiancé; a former stockbroker who moved to the island in a young version of a mid-life crisis. He is older than Sophie, but smitten by her exotic charm. Perhaps he is too eager to please and has not quite found all the answers he had hoped for on the island. Must be able to dance. Lisa (F) (G3-Db5) - Sophie’s friend who arrives to be a bridesmaid. Very energetic and kooky. Must be able to dance. Ali (F) (G3-D5) - Sophie’s friend. Impulsive and fun. Should contrast to Lisa and Sophie. Must be able to dance. Pepper (M) (A4-F5) - A flirty waiter at the Taverna featured through his brief relationship with Tanya. Hot, energetic and fun-loving, makes a great double-act with Eddie. Must be able to dance. Eddie (M) - A waiter, boatman and handyman at the Taverna. Other half of double-act with Pepper. Must be able to dance. Father Alexandrios (M/F) - The minister who officiates Sophie’s wedding. Often a heavy-weight Greek Orthodox priest, this is a delightful small role for a character actor of non-specified gender with some imagination. Featured Dancers (M/F) - More complicated dance sections. Strong dancing required. Featured Vocalists (M/F) - Strong harmony singers with mics throughout the show. Chorus (M/F) - Consists of the Islanders, who work at Donna's, Wedding-Guests. Acting, dancing and singing required. AUDITIONS Individual auditions will be held at TOAD Hall, corner of Manifold and Princess Street. All auditionees must be aged between 12/13 (Year 7, 2019) and younger than 21 as of the audition day. Thursday, September 12th - INDIVIDUAL AUDITIONS 7.30pm - 10.30pm Friday, September 13th - INDIVIDUAL AUDITIONS 5.00pm – 10.00pm Saturday, September 14th - INDIVIDUAL AUDITIONS 8.30am – 8.00pm Sunday, September 15th - INDIVIDUAL AUDITIONS available if sufficient demand The individual audition slot requires you to sing a section of ‘Mamma Mia’ as taught at the Info Day (bars 60-78), and to sing through a scale. The score and lyrics are provided and the piano backing is available to download from www.holidayactors.com.au. We encourage everyone to also perform a 90 second character song of your choice which you believe best demonstrates your singing. You will also perform a short piece from the script (provided). If you are auditioning for a lead role, you will be asked to sing an additional section of a song from the show as indicated below. Please note this is not taught at the Info Day. Lead auditionees are only required to sing one additional song, regardless of how many roles you wish to be considered for. Lead Female: Under Attack bars 13-27 Lead Male: Knowing Me Knowing You bars 27-41 All auditionees will be asked to perform one of the short monologues (attached) in the character of their choice. Those who are not auditioning for a lead e.g. feature dancers or ensemble will still be required to choose and perform a monologue from below. Monologues are asked to be prepared in an Australian accent. Auditionees may be required to cold read scenes or monologues. Group Dance Auditions will be held after every 4 individual auditions. You will perform the dance that you learnt at the Info Day to the Casting Panel in small groups. Time slots are allocated. Please note the time when you sign up for your audition. During your audition those who wish to be featured dancers will be asked to demonstrate any special talents e.g. Fouettes, 3+ Pirouette spins, body stretches or contortions (splits, back bends, etc) any dance leaps (Split ‘Switch’ Leap, Calypso leap, Toe-Touch Leap, etc) or any other interesting dance talents. If you will be demonstrating any of these special skills don’t forget to stretch before your audition The videos of the Audition Dance can be found on the Holiday Actors Website or on Youtube to help you learn and practice. The videos are privately listed on Youtube and can be reached or found by using the unique links below: Full dance: https://youtu.be/Glg5md0wXlI Slow version: https://youtu.be/dAEEJEWE-r0 CALL BACKS Call backs will be held at TOAD hall, Sunday September 16 at 7.30 - 9.30pm. Those who receive a call back will be asked to perform sections of the script and score for a particular character, as given on the day. Only those who auditioned for a lead role may be asked to attend call backs, and call backs may not occur for every role. REHEARSALS Rehearsals start on Saturday 12th October at 10am in TOAD Hall unless otherwise advised. All future rehearsals are Saturdays from 10am-4pm, and Sunday afternoons (initially for leads/featured scenes). Please ensure you check the updated rehearsal schedule throughout the show process. If you have any concerns about your ability to fit in with the schedule, please discuss these with Angela. Any absences that you already know about (e.g. booked holiday) must be listed on your audition form. Key dates: - 16th-17th November: Brucknell Scout Camp (must attend) - 14th-15th December: Sitzprobe (must attend) - New Years Eve: Port Fairy (must attend) - SHOWS: 6 shows from Tuesday 7th January – Saturday 11th January By accepting a role, either lead or ensemble, you are committing to the rehearsals as scheduled, and adhering to start times. Illness and unexpected events can occur, however, missing prolonged periods or key dates is an issue. Please show respect for the production team and your fellow cast members by advising Angela (or other directors if relevant) of your absence as soon as possible. The production team endeavours to respect your time by beginning on time and working hard for your enjoyment and the success of the show. Please feel free to contact Angela Kenna (Director – 0447 060 831) or Lyle Russell (Production Manager – 0408 549 095) if you have any questions. AUDITION MONOLOGUES Donna: Cool with it? You don’t know my daughter. This would be like a bombshell. And I don’t know that. I don’t know where they are. I don’t know why they are here. And I have brought this all on myself. Why have they all turned up like this? It’s like some horrible trick of Fate! I don’t want them spoiling this.
Recommended publications
  • Benjamin Bierman, Ph.D. [email protected]
    Benjamin Bierman, Ph.D. [email protected] www.benbierman.com Teaching Associate Professor, Department of Art and Music, John Jay College of Criminal Justice, City University of New York (2009-present) Recipient, 2016 Faculty Scholarship Excellence Award Substitute Assistant Professor Conservatory of Music, Brooklyn College, CUNY (2006–2007) Graduate and undergraduate theory, composition, ear training, 20th-century analysis, jazz analysis, Graduate Deputy (administrative responsibilities include advisement of all graduate students, curriculum development, preparation of comprehensive exam, etc.) Substitute Instructor Queensborough Community College, CUNY (2005–2006) Musicianship, Intermediate Piano, Introduction to Music, Introduction to Jazz Adjunct Asst. Prof. and lecturer positions (2007-2009): Brooklyn College: Composition tutorials, Linear Analysis and 20th-Century Analysis Master’s seminars, Theory, Ear Training; The New School of Jazz and Contemporary Music: History of Western Music; Boston University: online course development and instruction: Jazz Arranging, Theory/Analysis, Orchestration, History of the Blues. Baruch College: History of Electronic Music, American Popular Song Publishing “Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives (January 2016). Peer-review journal. Listening to Jazz (Oxford University Press, 2015). “Duke Ellington’s Legacy and Influence.” Cambridge Companion to Duke Ellington (Cambridge University Press, 2014). “Solidarity Forever: Music and the Labor Movement in the United States.” The Routledge History of Social Protest in Popular Music (Routledge Press, June 2013). “Progressive Jazz.” The Encyclopedia of Popular Music of the World (Continuum, 2012). “Unlocking the Mysteries of the Second Miles Davis Quintet.” Journal of Jazz Studies, Vol. 7, No. 2, pp. 258-265 (Fall 2011). Review; Peer-review journal. “Appreciating the Mix: Teaching Music Listening through Sound-Mixing Techniques.” Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube (Scarecrow Press, 2010).
    [Show full text]
  • 2020-21 Season Brochure
    2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No.
    [Show full text]
  • Audition Repertoire Choices: More Than Just Voice
    Popular Song and Music Theater ASSOCIATE EDITOR: Robert Edwin Audition Repertoire Choices: More Than Just Voice cautioned that "no one can (Jo every- or her strengths. To personalize this thing well." They now must make process, allow me to track for you my some hard decisions about what they 2005-06 high school senior class, want to sing and act. To make these shed some light on the students' rep- choices effectively, my students must ertoire choices, and offer some in- take an honest and highly critical per- sight as to why and how they made sonal inventory of how they look, how their selections. they sound, and how they act. Let's start with Michaela, a beau- A glance in the studio mirror will tiful and very talented young woman remind them that they are a certain who came to my studio in her soph- physical "type." Are they tall or short, omore year as a classically trained thin or heavy, athletic or soft, beauti- singer. Although she had worked pro- ful or unattractive, handsome or fessionally in her late child years and homely, or somewhere in between? wanted a music theater career, she Robert Edwin A vocal warm up will reaffirm their was discouraged from using her belt Each and working range. Do they have voice and, as a result, had no techni- a high voice or a low voice, a big voice cal foundation for that style of singing. When asked to describe what I do or a small voice, a pretty voice or a Since the typical music theater col- as a teacher of singing, my short an- character voice, a flexible voice or a lege audition for women
    [Show full text]
  • Notes on the Oedipus Works
    Notes on the Oedipus Works Matthew Aucoin The Orphic Moment a dramatic cantata for high voice (countertenor or mezzo-soprano), solo violin, and chamber ensemble (15 players) The story of Orpheus is music’s founding myth, its primal self-justification and self-glorification. On Orpheus’s wedding day, his wife, Eurydice, is fatally bitten by a poisonous snake. Orpheus audaciously storms the gates of Hell to plead his case, in song, to Hades and his infernal gang. The guardians of death melt at his music’s touch. They grant Eurydice a second chance at life: she may follow Orpheus back to Earth, on the one condition that he not turn to look at her until they’re above ground. Orpheus can’t resist his urge to glance back; he turns, and Eurydice vanishes. The Orpheus myth is typically understood as a tragedy of human impatience: even when a loved one’s life is at stake, the best, most heroic intentions are helpless to resist a sudden instinctive impulse. But that’s not my understanding of the story. Orpheus, after all, is the ultimate aesthete: he’s the world’s greatest singer, and he knows that heartbreak and loss are music’s favorite subjects. In most operas based on the Orpheus story – and there are many – the action typically runs as follows: Orpheus loses Eurydice; he laments her loss gorgeously and extravagantly; he descends to the underworld; he gorgeously and extravagantly begs to get Eurydice back; he is granted her again and promptly loses her again; he laments even more gorgeously and extravagantly than before.
    [Show full text]
  • A Year in the Life of Bottle the Curmudgeon What You Are About to Read Is the Book of the Blog of the Facebook Project I Started When My Dad Died in 2019
    A Year in the Life of Bottle the Curmudgeon What you are about to read is the book of the blog of the Facebook project I started when my dad died in 2019. It also happens to be many more things: a diary, a commentary on contemporaneous events, a series of stories, lectures, and diatribes on politics, religion, art, business, philosophy, and pop culture, all in the mostly daily publishing of 365 essays, ostensibly about an album, but really just what spewed from my brain while listening to an album. I finished the last essay on June 19, 2020 and began putting it into book from. The hyperlinked but typo rich version of these essays is available at: https://albumsforeternity.blogspot.com/ Thank you for reading, I hope you find it enjoyable, possibly even entertaining. bottleofbeef.com exists, why not give it a visit? Have an album you want me to review? Want to give feedback or converse about something? Send your own wordy words to [email protected] , and I will most likely reply. Unless you’re being a jerk. © Bottle of Beef 2020, all rights reserved. Welcome to my record collection. This is a book about my love of listening to albums. It started off as a nightly perusal of my dad's record collection (which sadly became mine) on my personal Facebook page. Over the ensuing months it became quite an enjoyable process of simply ranting about what I think is a real art form, the album. It exists in three forms: nightly posts on Facebook, a chronologically maintained blog that is still ongoing (though less frequent), and now this book.
    [Show full text]
  • Blending Voices
    BLENDING VOICES A SCRAPBOOK OF STORIES AND PICTURES FROM A GROUP SINGER BY JACK BROPHY FORWARD As you take this scrapbook in hand, be prepared for an enjoyable read, with humor a major theme. It also will be clear that serious sentiments are central to Jack’s stories. You will feel how his music-making with groups over the years has helped to alleviate the suffering of tornado victims, and responded to the elderly for its soothing effect. You will know how school children have benefited as a result of some of the funds generated by these performances. So while this narrative of Jack’s musical life is written with a light touch, it reveals how profoundly important music is to him. These are reminiscences of music expressed mainly by voices raised in song, particularly small groups. The goal in each instance was to achieve a special harmonic blend to create a single unified voice. Jack explains that, on occasion, he has selected harmonic team players over accomplished soloists. Jack and I grew up in Pelham, NY. As a frequent guest in his parents’ summer cottage (Merriewold), I was aware always of the presence of music and laughter. The Merriewold experiences surely were an essential part of Jack’s life-long passion for harmony and humor. Mom Brophy was an accomplished pianist, as were Jack’s sisters, Babs and Patty. Older sister Babs helped introduce Frank Sinatra’s music to our generation. I was privileged to know Pat during the years she spent as a professional cabaret pianist/singer. On one occasion, I was attending a convention in New Orleans.
    [Show full text]
  • Mamma Mia! Character List ​
    Mamma Mia! Character List ​ Donna Sheridan: The owner of the Taverna on the Greek island of Kalokairi; Sophie’s ​ mother, (around 40, American). She is the former lead singer of “Donna and the Dynamos. Honest, straight and hard-working, she is the most naturalistic and vulnerable of the characters. (Mezzo-Soprano) E3-A5 Sophie Sheridan: Donna’s headstrong 21-year-old daughter, Sophie is determined to ​ have what her mother never had: a traditional family and a father to walk her down the aisle. Young, bright and energetic, she has lived all her life on the island and is ready to leave. (Pop Soprano) F#3-E5 Tanya Cresham-Leigh: Tanya (around 40) has married several millionaires and discovered a lot more about plastic surgery than love - to the extent that she was ever looking. Wild, fun-loving and a big character, she flirts mercilessly with young men, happy to play, but not to stick around. (Mezzo-Soprano) E3-E5 Rosie Mulligan: Donna’s friend (around 40, American, often plus-size) a former ​ member of the Dynamos; unmarried, free-spirited and a renowned author of cookbooks. A character who has developed a confident, funny and self-deprecating exterior which masks her inner vulnerability. Mostly comedic. (Mezzo-Soprano) E3-E5 Sam Carmichael: One of Sophie’s Potential fathers and a wealthy architect (40-50, ​ American). Sam has regretted leaving Donna all his life and now finds himself divorced and back in her presence. He is straight-laced, confident and composed. At times he is perhaps a little over-bearing, but he is determined not to mess up the second chance he has been given.
    [Show full text]
  • JA's PRIDE and PREJUDICE-Mainstreet St Louis
    Book, Music and Lyrics by Lindsay Warren Baker & Amanda Jacobs Based on the novel “Pride and Prejudice” by Jane Austen Orchestrations and Arrangements by Amanda Jacobs Additional Vocal Arrangements by Lindsay Warren Baker Cast Size: Women (9+), Men (5+) Orchestra: TBA www.Pride-Prejudice-Musical.com E-mail: [email protected] Representation: Bruce Ostler, Bret Adams, Ltd. 448 West 44th Street, New York, NY 10036 www.bretadamsltd.net Phone: 212-765-5630 Originally presented by the New York Musical Theatre Festival Jane Austen’s PRIDE AND PREJUDICE, A Musical is an official selection of The New York Musical Theatre Festival’s 2011 Next Link Project. Jane Austen’s PRIDE AND PREJUDICE, A Musical Mainstreet Musicals – St. Louis Copyright 2004 - 2014, Baker & Jacobs Revised April 15, 2014; 8:55 pm i CAST OF CHARACTERS At Chawton Cottage – Hampshire, England: 1811 JANE AUSTEN: 36. A recently published authoress. CASSANDRA AUSTEN: 39. Her sister. The Characters of First Impressions – England: 1796/1797 MR. BENNET: A country gentleman of £2000 a year. “An odd mixture of quick parts, sarcastic humour, reserve and caprice. His principal enjoyments arise from the country-side and books.” MRS. BENNET: His wife. “Once a young woman of youth, beauty and good humour; now a wife and mother of mean understanding, little information and uncertain temper. When discontented, she fancies herself nervous. The business of her life is to get her daughters married; its solace is visiting and news.” JANE BENNET: 22. The Bennet’s eldest daughter. “One does not often see any body better looking. It is what every body says … She never sees a fault in any body.
    [Show full text]
  • Character Descriptions and Audition Notes
    CHARACTER DESCRIPTIONS AND AUDITION NOTES The heart of Mamma Mia! is the music of ABBA and we intend to present the songbook with maximum produc- tion value. In many ways it will feel as much like a pop concert as a traditional musical and singers will frequently be expected to sing directly to the audience rather than remaining within character behind the ‘fourth wall’. An enjoyment of this kind of performing (‘fronting up a band’) will be advantageous and you are encouraged to demonstrate it if you’ve got it. We are intending to cast a large “Chorus” who, alongside the band, will be on stage throughout the show. The Chorus will be made up of a singing ensemble and a dancing ensemble who will generally work independently of each other and you are encouraged to read the descriptions below for both. The characters in Mamma Mia! are well-known, but we are intending to present our own version of this time- honored show and we are very open to the re-imagining of any or all them in terms of gender, weight, height, age, race or anything else… Please do not be deterred by the descriptions below or by any traditional interpre- tations of the roles; if you think you are right for a role, please show us what you have - we will genuinely consider it. The character descriptions below are a guide to what we imagine will be on stage, but they are not intended to be definitive. Ensemble Roles One of the defining elements of Mamma Mia! is the density of production numbers in the show and the energy required to deliver them.
    [Show full text]