STOP!

Before submitting this packet and proceeding to the audition, make sure you have completed and included:

• This Sheet • Student Acting Resumé and Headshot (if available; headshot not required but it helps) • Potential Conflict Sheet ACCURATELY filled out • Family Contract with Parental Volunteer Positions and Signatures • Participation Fee (if included with a sibling as part of a family rate please note)

Without ALL of these completed, you may not be able to audition. All questions may be directed to [email protected]

NAME: ______GRADE:!______CONTACT: ______PART DESIRED (OPTIONAL): ______AUDITION SONG: ______

For Administrative Use Only:

Audition Block Time:!!!!Audition Number:

Seton School “” Audition Packet! 1 “The King and I”

PARENT/STUDENT INFORMATION SHEET (do not include in submitted audition packet)

On behalf of the Production Staff of Seton’s 2013 production of “The King and I,” welcome to the show! We’re very glad that your teen has decided to participate. The musical program at Seton has a long and wonderful history and we thank you very much for becoming part of the story and joining us on this exciting adventure.

In this packet, you’ll find more information about the show, what to expect, and what the Production Team will expect from your student (and family). There’s also an acting resumé, conflict sheet, and student/parent contract that you’ll need to fill out. Finally, you’ll also need to include a small participation fee (more on that shortly).

About the Show

The King and I is a stage musical, the fifth by the team of and Oscar Hammerstein II. The work is based on the 1944 novel of Siam by and derives from the memoirs of , who became governess to the children of King of Siam in the early 1860s. The story deals with the experiences of the British schoolteacher, who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the play, as well as by a love that neither is able to express. The musical premiered on March 29, 1951 at Broadway's St. James Theatre, closed on March 20, 1954 and has received tours and revivals.

In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would be an ideal vehicle and contacted , who were initially reluctant, but who agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role that he had played in the 1946 movie made from Landon's book, but Harrison was unavailable. They settled on Russian-American actor Yul Brynner.

The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by other actresses during the remainder of the Broadway run of three years (1,246 performances). A national tour and a hit London run followed, together with a 1956 film for which Brynner won an Academy Award. More successful revivals were mounted. In the early 1980s, Brynner starred in an extended national tour of the musical, culminating with a 1985 Broadway run, shortly before his death. Later major revivals of The King and I included productions on Broadway in 1996 and in the West End in 2000.

Seton School “The King and I” Audition Packet! 2 Act 1 In Bangkok, Siam (later known as Thailand) in 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King’s “Prime Minister” the Kralahome, but Anna refuses to be intimidated (""). The Kralahome has come to escort them to the palace, where they are expected to live—a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them here, but leaves with her son and the Kralahome.

Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She has been brought by Lun Tha, here to copy a design for a temple, and the two are deeply in love. Tuptim, left alone, declares that the King may own her, but he does not own her heart ("My Lord and Master"). The King gives Anna her first audience with him. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of the house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she mentions her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils—Anna is to teach several dozen of his children whose mothers are in favor with the King. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.

Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of the home life, to the King's irritation. The King has enough worries on his mind without the battle with the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). There is disorder as the crown prince, Chulalongkorn, refuses to believe the map, and the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, uncertain of his next action, then also leaves. Lun Tha comes upon Tuptim, and they muse on the impossibility of their love ("We Kiss in a Shadow").

In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by news that he is being portrayed as a barbarian to the British, who are being urged to take over Siam as a protectorate. Anna is shocked by the accusations—the King is a polygamist, but he is no barbarian—but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation, to which she reluctantly agrees. The King tells her of the allegations and that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses"—the only guise in which the King will accept advice—that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has

Seton School “The King and I” Audition Packet! 3 been writing a play based on Uncle Tom's Cabin, that can be presented to the guests. The British are coming much sooner than thought, and so Anna and the wives stay up all night so everything is done on time. The King assembles his family for a Buddhist prayer for the success of the venture and acknowledges before Buddha that Anna will receive her own house.

Act 2 The wives, awaiting the British envoy, are dressed in European gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it develops that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner. As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the play ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas") is presented as a traditional-appearing Siamese dance. Tuptim is the narrator, and dramatizes the evil of King Simon of Legree and the efforts of the slave Eliza to gain her freedom from him. Eliza is saved by Buddha, who, after she has crossed miraculous ice pursued by King Simon, causes the ice to melt, drowning the slaveholding King. The anti-slavery message is clear.

After the play, Sir Edward reveals that the British threat has receded. The King, however, is distracted by the play and his displeasure at Tuptim. Sir Edward leaves, and Anna and the King express their delight at how well the evening went. He presents her with a ring. Secret police report that Tuptim is missing. The King realizes Anna knows something of this; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western way of courtship, and tells him of what it is like for a woman at a formal dance ("Shall We Dance?"). He demands that she teach the dance to him, and their dancing is interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King is determined to question and punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he takes the whip to prove his domination over Anna's influence. Under her gaze, however, he is unable to swing the whip. Lun Tha has been found dead, and Tuptim is dragged off swearing to join him in death. Anna returns the ring to the Kralahome as both she and the King express their wish that Anna had never come to Siam.

Several months pass no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying of heart failure. Anna hurries to the King's bedside and forgives him. The King persuades her to accept the ring and persuades her to stay to assist the next king, Chulalongkorn. The King tells Anna to take dictation from the prince, and tells the boy to give orders as if he were King. The prince orders the end of the

Seton School “The King and I” Audition Packet! 4 custom of kowtowing, to which Anna has objected. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father quietly dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.

Principal Roles Character Description Anna Leonowens A widowed Briton, in Siam to teach the royal children The King The King of Siam, in real life Mongkut Lady Thiang The King's chief wife Lun Tha A Burmese scholar, in love with Tuptim Tuptim A slave brought from Burma to be one of the King's junior wives Prince Chulalongkorn The King's eldest son and heir The Kralahome The King's prime minister Louis Leonowens Anna's son

Attendance

Attendance is crucial. Students need to understand that rehearsal times are scheduled in advance. We will do our best to give each group of students who need to be at a specific rehearsal advanced notice. Please refer to our regular email blasts, the Sentinel, bulletin boards, school postings, and the school website.

As we draw closer to the performance dates, practices may be extended to include additional weekday nights and extended weekend hours. During Tech Week (full cast for complete production run through including dress rehearsal with hair, makeup and costumes, full orchestra, sets, sound and lighting) ALL CAST MEMBERS ARE REQUIRED TO ATTEND EVERY TECH REHEARSAL.

Attendance will be taken at all rehearsals. It is the student’s responsibility to have their attendance verified for each practice that they attend. It is the student’s responsibility to contact the Producers in advance of impending absences due to conflicts (unless it is a sudden illness or emergency). Excessive absences cannot be accepted as it will disrupt the integrity of production numbers that have already been rehearsed and choreographed. Unfortunately, actors who have missed too many rehearsals may find that they will have to withdraw from their production number.

During rehearsals, students MAY NOT LEAVE THE CAMPUS unless we have received prior permission from a parent. This is for their own safety. Students are expected to have already

Seton School “The King and I” Audition Packet! 5 eaten meals or to bring something to eat.

All cast members are required to participate in “strike” the day of the last performance. The stage will be disassembled, classrooms and gym will be cleaned and any costumes or materials must be turned in to the chairpersons.

Participation Fee

This year, we are requiring a small participation fee to cover the costs of makeup, cast t-shirts, incidentals and cast gifts. In the past we have had one-time charges for each of these individually. Rather than constantly hitting you up for money, this year we have a low one time only fee for these items. Note, this does NOT cover costume costs (more below).

This year’s participation fee is $30 per student with a $50 family maximum. This fee must be turned in or arrangements made at time of audition. Please make out your check to Seton School. If there are financial issues or concerns, arrangements and exceptions can be made; please contact the Producers at [email protected] or 703.474.7946 and we’ll work it out. We don’t want anyone to not be able participate because of cost.

Set Strike

This year there is NO strike fee. Strike is a part of being a cast member. Strike will immediately follow our last Saturday Matineé performance on April 13 (followed by a cast party) and ALL cast and crew are required with no exceptions. Attendance will be taken at strike and if a student does not attend the full strike (unless there is an important or grave prior commitment) the student may face consequences with the school and it may harm consideration in future Seton productions.

Rides and Pickup

The production staff is not responsible for getting your student to and from rehearsals, or for monitoring them while they are there. As per VIRTUS requirements, at least two trained volunteers need to stay after all rehearsals to ensure that everyone has a safe ride home. This means that if you are late in picking up your teens, the volunteers have to wait as well, and it’s that much longer before they can get home to their families as well. Our volunteers have jobs during the day and people to go home to at night. Please don’t make them stay late! Pick up your kids.

Email Blasts

We will send a weekly email blast to all cast, crew and production staff. This weekly email is short and will have up to date information on rehearsal times and expectations. SOMEBODY needs to regularly read this email (parents, students, etc). Please do not ignore the emails and then miss a rehearsal or milestone because “nobody told you!” Email is our best way to get out

Seton School “The King and I” Audition Packet! 6 information and we plan to use it regularly. If for some reason you are not receiving our email blasts, or you do not have access to email, please contact Matt Moore immediately at 703.474.7946 and we will make sure you are receiving the information in a timely manner.

Inclement Weather

In the case of inclement weather, we will decide the night prior if rehearsal will continue. This decision will be sent via email blast no later than 10:00 PM the night prior to rehearsal. Please check your emails regularly! We are expecting a moderate amount of snow and ice this year; we have built make-up days into the schedule in case we need them.

Location

Any areas of the school used for the play rehearsals/performances will be cleaned at the end of practice. Students are responsible for cleaning the rehearsal areas (Faustina and other classrooms used as well as the gym), rooms designated as dressing rooms and bathrooms BEFORE they will be allowed to go home after any rehearsal or performance. It is NOT the responsibility of the production staff to clean up after them. Once students begin bringing costumes to school, they should be kept with the student. It is a good idea to use a garment bag, sport bag or equipment bag to store all clothes, costumes, shoes and accessories. EVERY ITEM SHOULD HAVE THE STUDENT’S NAME ON IT. Non-play related items, such as, but not limited to books, calculators, cell-phones, etc. are the sole responsibility of the student to whom they belong. If you do not want to lose it, either don’t bring it or keep track of it.

Costumes

Parents and students are ultimately responsible for purchasing and acquiring costumes. Since there is such a wide variety of costumes in this production, we can’t charge a flat rate. The production team has a group of costume designers, creators and advisors who will assist with costumes.

Makeup will be provided as part of the participation fee.

Grades

Schoolwork is more important that the show. If a student’s teacher(s)/parent decide(s) it is necessary, the student may be suspended from the cast at any time due to poor performance in school.

Seton School “The King and I” Audition Packet! 7 Behavior

Students are expected to uphold Seton school morals and rules during all rehearsals and performances. Appropriate action will be taken for inappropriate behavior (including issuance of demerits). Any vandalism at any point of the show is grounds for immediate removal. Students will uphold the Seton dress code requirements as stated in the Seton manual. iPods, video games and other electronic devices are forbidden during rehearsals/practices. Cell phones are only to be used for making calls and not used for games or internet connections.

Family Involvement

It doesn’t just take a village to put on a musical. It takes a whole city! We have a number of volunteers but it’s just not enough to do on our own. Therefore, we require every family to take on a meaningful role in helping make our performance great. Each family will be required to participate in one “Tier 1” role or two “Tier 2” roles during the course of the performance. Tier 1 roles are volunteer positions that require significant time and effort, such as Costume Staff, Set Painting, etc. These roles require multiple dates and times and we recognize that not every family will be able to commit to them. Tier 2 roles include chaperones, set construction assistants, set strike help, food and beverages providers for the cast party, cast party help, backstage monitors, and the like. If you cannot assist in this matter please contact Matt Moore immediately to discuss how you can be involved in assisting with the show in a way that works with your schedule. In order for your student to audition, each form MUST have the parental involvement section filled out.

Once again, thank you for sharing your student with us this winter and spring. The musical program truly is the “Jewel of the School” and we are very excited to share this ministry with your family and the community around us!

Any questions, please contact by email, or phone. Please DO NOT contact us about roles you are interested in auditioning for, or suggestions for same.

Direction, Creative, Cast Related:

Lisa Bailey (703) 881-8333 [email protected]

Producing, Administration, Volunteers:

Matt Moore (704) 474-7946 or Connie Zapiain (703) 915-1775 [email protected]

God Bless,

Matt Moore and Connie Zapiain, Producers, “The King and I”

Seton School “The King and I” Audition Packet! 8 PRODUCTION SCHEDULE

We will make every effort to keep to this schedule, but things happen, like snow days, etc. Therefore, this schedule is subject to change, but should be sufficient for considering your conflicts. All dates denoted with a (*) are mandatory for ALL CAST and CREW.

January

TBD Preliminary Leads/Group numbers as available January 19: All Cast Read Through * January 19-31: Wednesday and Saturday Rehearsals as Scheduled by Role

February

February 2-28: Wednesday and Saturday Rehearsals as Scheduled by Role

March

March 1-23: Wednesday and Saturday Rehearsals as Scheduled by Role March 17-28: Assume every day but Sundays / Schedule TBD *

April

April 1-4 TECH WEEK * Thursday, April 4 Final Dress Rehearsal * Friday, April 5 Evening Performance * Saturday, April 6 Matinée Performance * Evening Performance * Sunday, April 7 Matinée Performance * Wednesday, April 10 BRUSH UP DAY * Friday, April 12 Evening Performance * Saturday, April 13 Matinée Performance, followed by set strike and cast party *

Seton School “The King and I” Audition Packet! 9 STUDENT ACTING RESUMÉ

Please fill out the following short form so we can see what experience you have that might help us cast you in a role that really shows off the gifts God has given you. If you don’t know the answer to a question, it;s OK to leave it blank. If you have a professional resumé or headshot, please attach as well. If you don’t have a head shot, we could really use a nice printed photo of you to help identify you during casting meetings. Please include it if you can.

Name:

Age: Grade: Vocal Range:

Audition Song You Will be Performing:

Preferred Role, if Any:

Please list all relevant performance experience:

DATE LOCATION PRODUCTION ROLE

______

______

______

______

______

______

Do you have any special skills or interests you would like us to know about?

Are you in regular performance groups or training, i.e. Dance Studios, vocal coach, etc?

Seton School “The King and I” Audition Packet! 10 POTENTIAL CONFLICTS

Every student who auditions will be able to participate on stage in this year’s production. However, not everyone will receive a lead or featured role. Knowing your personal conflicts ahead of time assists us in casting, as well as arranging rehearsal times, etc. Therefore, it is CRITICAL that you accurately fill out this form to the best of your ability to allow us to figure it all out. Please do not just list “Basketball,” “Volleyball,” “Dance,” etc. as you and your family have access to the schedules of at least all winter activities.

There may come a time when a conflict arises that you didn’t know about at this time. This happens. We will make every effort to work with you. But remember, you are making a real commitment to OUR team here at the musical, and we expect you to take it seriously. So if another conflict arises, we need you to IMMEDIATELY contact the Producers at [email protected] so that we may work with it.

Please list all conflicts below, with as much accuracy as possible:

ACTIVITY DATES AFFECTED TIMES (IF KNOWN)

______

______

______

______

______

______

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Seton School “The King and I” Audition Packet! 11 STUDENT/PARENT CONTRACT

Please complete this contract and return with the other required items from this audition packet at the time of your audition.

Contact Information:

Student’s Name: ______Grade: ______

Home Phone: ______Cell Phone: ______

Email: ______

Address: ______

Family Contact Information:

Parent’s Name(s): ______

Home Phone: ______Cell Phone: ______

Work Phone: ______Other: ______

Email: ______

Address: ______

I agree to abide by and follow all of the expectations as listed in the audition packet and to comport myself in the manner expected as a Child of God and a Seton Student:

Actor’s Name

Signature

Date (Continued on next page)

Seton School “The King and I” Audition Packet! 12 (CONTINUED)

We, the Parent(s) agree to ensure our child follows the above expectations, and may participate in this year’s musical performance.

We hereby give permission for our child to be photographed and/or videotaped for the purposes of use in the show or for marketing materials.

My child may be contacted via email (Y) (N) (NOTE all emails to students will be blast emails only, in accordance with Diocesan policy we will never send a personal email only to your child. If we need to respond to a query or send a note to your family, the email will be cc’d to either you or a VIRTUS-trained adult production staff member).

We volunteer to serve in the following roles (at least one Tier 1 or two Tier 2 roles required:

(circle your selections)

Tier 1:

Costumes Makeup Logistics Errands Painting and Set Technical

Publicity Box Office Administration

Tier 2:

Chaperone* Backstage Monitor* Publicity Day Set Construction Set Strike

Food and Beverages House Assistance Pizza Contributions

Name:

Date:

Signature:

Seton School “The King and I” Audition Packet! 13 AUDITION NOTES

Please leave this page blank.

Seton School “The King and I” Audition Packet! 14