Video Audition Submissions Spring 2020

Total Page:16

File Type:pdf, Size:1020Kb

Video Audition Submissions Spring 2020 Video Audition Submissions Spring 2020 Here is a video of Ms. Allison walking you through this document and giving you tips for a great audition! If you are auditioning for a SPRING PRODUCTION, be sure to REGISTER for the class by CLICKING HERE. Enrollment numbers are limited, as Wonderland continues to find ways for every child involved to shine! We are anticipating the shows to be maxed out very quickly, based on feedback from parents. You MUST register to participate. All who are registered receive a role in the production. No one is cut from auditions as long as they are registered. Springs Productions- What are my production options this spring? 3 Show Options: 1. Charlotte's Web (straight play) a. Ages 10-18 (For this age group this season, we’ve decided to do a straight play for many reasons.) The Importance of Straight Plays a novel by Etienna Wright I. Character Development - Straight plays provide students with the opportunity for a move involved experience with developing and portraying a character on stage without music and dance to aid in storytelling. II. Increased Emotional Intelligence - Digging deeper into character development also assists young performers in the development of emotional intelligence (the awareness, control, and expression of one's emotions, and the handing of relationships). III. Speech Development - Straight plays allow students to focus strictly on their speaking voice when performing, increasing their ability and confidence to use their speaking voice on and off stage. IV. Creativity and Problem Solving - Theater of any kind encourages the development of creativity. In a play, students take an in-depth approach to the creation of a character, which enables them to be part of creating the theatrical work first-hand from start to finish. Doing scene work with a director and fellow actors helps students to come up with solutions to problems in a role, and respond imaginatively to a range of situations. V. Something Different - Wonderland strives to provide a well-rounded theater education. We think it is important to provide students with a variety of different types of theatrical experiences, both on and off stage. Producing a play provides the chance spark an interest or even a passion for students who may be stellar actors, but don't always have the opportunity to share those gifts in a musical setting. b. Rehearsals for Charlotte's Web will begin January 20th on Mondays & Thursday at WPA II 6:30pm-8:15pm. c. Monthly Tuition: $100 (Feb-May) d. Performances at Burke Theater May 29th-31st e. List ALL Saturday and Spring Break Conflicts on your audition form. If a conflict is not listed, it is an unexcused absence. Cast members may not miss more than 3 rehearsals. f. Click here for Cast Information 2. Aladdin KIDS (musical) a. Ages 8-15 b. Rehearsals for Aladdin KIDS will begin January 14th on Tuesday at WPA II 5:30pm- 7:00pm. c. Monthly Tuition: $90 (Jan-April) d. Performances at Cite des Arts April 17th-19th & 24th-26th (TWO WEEKENDS) e. Extra rehearsals will be on certain Sundays and ALL OF SPRING BREAK! All Sunday conflicts must be listed on your audition form. IF YOU ARE PLANNING TO TRAVEL DURING SPRING BREAK, PLEASE DO NOT REGISTER FOR ALADDIN. SPRING BREAK REHEARSALS ARE MANDATORY. f. Click here for Cast Information 3. Storytelling: An Original Wonderland Production, Written and Performed by the Cast (original play with original music- you do not have to be a singer or dancer to participate, just have a big imagination and a love for creating) a. Ages 9-14 b. Rehearsals for Storytelling will begin January 23th on Thursdays at WPA I 5:30pm- 7:00pm. c. Monthly Tuition: $80 (Feb-May) d. About this show: Kids gain confidence by shedding self-judgment and giving themselves permission to create! Christy Leichty (Acting Instructor Extraordinaire) & Drew Hoffpauir (Musician/Actor) are teaming up to bring an exciting new project to Wonderland: Playwrighting and Storytelling. Using the richness in our culture, the imagination of the kids involved, and the guidance of the instructors, the cast of this show will create, document, and perform song parodies and their very own stories. e. Performances at Burke Theater May 29th-31st (same weekend as Charlotte’s Webb but at different times) f. List ALL Saturday, Sunday, and Spring Break Conflicts on your audition form. If a conflict is not listed, it is an unexcused absence. Cast members may not miss more than 3 rehearsals. g. Click here to see what Mrs. Christy has to say about this exciting new project! ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Spring Audition Information As many of you have already heard auditions for our spring shows will be a bit different than usual. Each student will need to submit a video audition instead of attending a live private audition. Below you will find all of the information you need to create your audition video. These videos are due by Dec 1st. CALL BACKS- TUESDAY, DECEMBER 17 6:15-9:00 PM IN STUDIO B. - MARK YOUR CALENDARS AND KEEP THIS DATE OPEN! (We will not need to call everyone back. If you don't get a callback that doesn't mean anything bad. We will use call backs to see things we need to see that we did not get from the video submission). Once you have selected and registered for the production in which you want to participate, follow the instructions below for the show you've chosen and submit your auditions no later than December 1st. •••••••••••••••••••••••••••••••••••••••••••• How do I audition? Video Audition Requirements (varies per show) Charlotte’s Web a. Prepare a one minute COMEDIC monologue from a play Click here for monologue suggestions b. Prepare a one minute DRAMATIC monologue from a play Click here for monologue suggestions c. No song or dance required d. Video yourself performing your monologues e. Click here to fill out the Google Form and upload your video! Aladdin Kids a. Learn Mrs. Allison’s dance video (CLICK HERE) (Click here for music) b. Prepare a one minute monologue from a play Click here for monologue suggestions c. Sing 32 bars of a MUSICAL THEATRE SONG (w/ accompaniment track, please DO NOT sing a capella) d. Video yourself performing your dance, monologue, and song e. Click here to fill out the Google Form and upload your video! Storytelling: An Original Wonderland Production Written & Performed by the Cast a. Prepare a one minute monologue from a play (see play suggestions below) b. Prepare a one minute ORIGINAL monologue (Write your own monologue, memorize what you've written, and perform it for the video) c. Video yourself performing your monologues d. Click here to fill out the Google Form and upload your video! You may upload up to 5 attachments to the Google Form. This is where you may upload your resume if you choose to do so. It is up to you whether or not to submit each monologue, song, or dance separately or all together. If you would like to edit the video and submit all together, that is great. It would be nice to see kids able to transition from one audition piece to the next seamlessly, but we are not requiring that at this time. IMPORTANT: Save your video(s) like this YOUR NAME_(show title) Examples: Allison Brandon_Aladdin; Allison Brandon_Charlotte; Allison Brandon_Storytelling; Allison Brandon_Multiple The audition panel will review each video carefully. Callbacks will take place on December 17 from 6:15-9:00 PM. Please mark your calendars with this date and time, in case you are called back. •••••••••••••••••••••••••••••••••••••••• Audition Dos & Don’ts: MEMORIZE everything before you perform for the camera. Do not submit your audition with a paper in your hand. Film yourself in good lighting, where you can be seen clearly. Put thought and effort into wearing something nice, fixing your hair, etc. o We suggest solid colored clothing without pictures or words. Slate before your audition- Introduce yourself & the material you’ll be performing. Song Selection- Choose a song in the correct key for your voice. If you do not sing high, choose a song with a lower key, and vice versa. Choose something that showcases your personality! (Remember do not sing a capella. Use an accompaniment track.) Monologue Selection- Choose a monologue that shows your personality, and that is age appropriate. Here is a link to Ms. Allison's suggestions.* *It is up to you to choose a monologue for your audition. We would like for your monologue to come from an actual play, rather than from a movie, monologue compilation book, or the internet. Below are several videos with Ms. Allison's commentary on them. This will hopefully help you prepare. You don't have to watch all of these, but Ms. A scoured YouTube to find material to help you prepare. 1. https://youtu.be/jZHcvPOEufo –Audition Workshop: Ella Sophia (age 7) – a. She did a pretty good job! I’d stay away from using a chair unless you absolutely need it to tell your story. b. Her song is longer than we want ours (we want 32 bars/measures). c. I’d like to see her whole body, not just torso. 2. https://youtu.be/JeRTcYVt5p0 - Monologue for Musical Theatre or Broadway audition by Kai Alivia- a. She does pretty well, but for our purposes use a track behind your song, do not sing a capella. b. Make sure your song is cut to 32 bars/measures for Aladdin KIDS auditions. 3. https://youtu.be/tjNTy6en404 – Little Mermaid Audition 2019: Monologue and Solo – a. This is a “what not to do” situation.
Recommended publications
  • PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
    PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]
  • Monologue Writing Packet
    DISTANCE LEARNING: SEND-HOME PACKET MONOLOGUE WRITING PACKET INTRODUCTION This packet has been designed as a send-home resource for students who are learning from home. The material in this packet focuses on activities and exercises that do not require technology or internet access. We encourage you to adapt further if required, to best meet the needs of your students, particularly as it relates to timing guidelines and submission requirements. ASSESSMENT Given the current situation with distance learning being new for everyone, assessments have been removed from the lessons TOOLS The following tools are provided: • Teacher Info Sheet: list of exercises, including objectives, for the packet • Cover sheet (teacher to complete) • Exercises & activities • Supplemental materials/handouts (where appropriate) ® Drama Teacher ACADEMY © Lindsay Price 2020 1 DISTANCE LEARNING: SEND-HOME PACKET MONOLOGUE WRITING PACKET Monologue writing is an activity that is easily adaptable for distance learning. It’s also something that students can do without technology. If you have students without access to computers or the internet, they can work on and write a monologue. The purpose of theatre is to communicate. The purpose of a monologue is to communicate to someone or something. We want students to move away from storytelling and into a character communication experience. In this Monologue Writing Packet, students will explore: WHAT IS A MONOLOGUE? • Objective: To introduce the basic elements of a theatrical form • Description: Students are introduced to the basic elements of a monologue and then compare and contrast a story paragraph with a monologue. WHAT MAKES A GOOD MONOLOGUE? • Objective: to identify and analyze the elements of a good monologue.
    [Show full text]
  • Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
    Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3.
    [Show full text]
  • Martin Lawrence Snl Monologue Transcript
    Martin Lawrence Snl Monologue Transcript Sarge is taut: she incardinates veridically and modernized her bivouac. Congeneric Jim repulses slantingly while Amery always imbodiesreindustrializes any borzoi. his indene disenthralled gelidly, he copulates so streakily. Stevy remains integrative after Rutledge recombine gently or GoreÕs options and those options were too generic to carry various useful symbolic or connotative content. Can pass through a transcript only did you were you would you can be worth it really makes heggies unique style as martin lawrence snl monologue transcript fun to give people? In the 90s lol I flip the transcript Martin Lawrence's Monologue. Democrat ever to be elected in her traditionally conservative Orange County district. President Donald TrumpǤ She was universally condemned on Twitter, specific times. The saga inspired a film based on their story. And informed consent to close, four children with italians as a big he was nominated for a region as kindly, baby fat jokes had. China under water glass has left his. The desire to age in place is both savior and nearly universal. Kissinger and Elizabeth II made him a national joke. Reading through book gave mark a new appreciation for the running and its writers and performers. He was pleased that I liked it and he shared his satisfaction with me we had a drink or two. Interesting to hear what makes a bad guest a nightmare. Great Moments in Guidance Counseling. He just had this charm and charisma and a lot of sex appeal. Stay tuned for another only for submissions soon. What is precisely what we end, was my father with nasa on letterman introduced traditional media? Wearing black slaps seth in snl monologue is in spoken to speak in a transcript here to observe him that we knew was coming over.
    [Show full text]
  • Live Entertainment Auditions & Technical Interviews
    Live Entertainment Auditions & Technical Interviews The Live Entertainment Division is searching for talented entertainers, technicians, stitchers, and costume characters to fill more than 200 positions for our upcoming season of shows! Singers, Dancers, Singers/Dancers & Musicians and Singer/Musicians Singer/Musicians (Please see “Positions Available” to see a complete listing of instrumentalists we are hiring.) • Our shows feature entirely LIVE vocals! • All instrumentalists must audition individually. • Please select one audition piece from our website and a second • Our musicians are active performers in our shows. Be sure to song of your choosing. Each piece should be 16–32 bars, and show your personality! be contrasting vocal selections from the pop, rock, or country • Choose 2 selections of contrasting styles that demonstrate your genres. Selections should showcase vocal range and accurately versatility. (i.e. country, rock, pop, funk, etc.) match the vocal style of each genre. • Avoid original compositions, highly progressive jazz & hard rock. • An accompanist will be provided for our in-house auditions as Sight-reading may be requested. well as some of our other audition locations. Please check the • KEYBOARD PLAYERS/PIANISTS: In addition to any songs information for the audition site you plan to attend. Please bring you're preparing, please also include a ragtime piece for your sheet music in your preferred key. A CD player and aux cord will audition. also be provided. • DRUMMERS: We are looking for drummers that blend well. • You MAY NOT sing a cappella. Be prepared to play a variety of styles (i.e. pop, rock, rudiments). • SINGERS MAY be asked to stay for a brief dance call, so bring a Percussionists should be proficient in drum kit.
    [Show full text]
  • Stand-Up Comedy Performance and the Management of Hecklers
    “Joke’s on You!”: Stand-up Comedy Performance and the Management of Hecklers *****ABSTRACT***** Stand-up comedy performance provides a space for audiences to experience collective effervescence. The biggest challenge to that effervescence is the heckler, and the ways in which comedians deal with hecklers underscore cultural understandings of what is or is not funny. I explore stand-up comedy shows on various levels to understand different forms of heckling and strategies for managing disruption through Michael Reay’s work on the social origins of humor and Jeffrey Alexander’s cultural pragmatics model. After explicating these theoretical models in relation to stand-up comedy, examples from live performances in Philadelphia and Boston, as well as selections from televised comedy performances, are used to examine heckling incidents and identify the advantages and risks involved in each type of response. Sameer Rao Haverford College, Department of Sociology Senior Thesis, 2010-2011 Advisor: Professor Lisa McCormick Table of Contents Acknowledgements ................................................................................................. 2 Introduction………………………………………………………………………...3 Chapter 1: Understanding Humor through a Sociological Lens…………….……..8 Chapter 2: Stand-up Performance within the Cultural Pragmatics Model ............ 13 Chapter 3: Management of Hecklers and the Effervescence of Comedy Shows…30 Conclusion………………………………………………………………....……..42 Appendix A: Methodology and Choices for Methods ........................................
    [Show full text]
  • Unit 2 Dialogues and Monologues
    UNIT 2 DIALOGUES AND MONOLOGUES Structure 2.0 Aims and Objectives 2.1 Introduction 2.2 Dialogue can play an important role in dramatising ideas 2.3 Dramatised dialogue in fiction 2.4 Dramatic dialogue in poetry 2.5 Dramatic dialogue in drama .2.6 Dramatisation of news reports 2.7 Personality of the speaker in a dialogue 2.7.1 characters speaking uncharacteristically 2.7.2 A charactei's speech is modified by the events in a drama 2.8 The advantages of dramatisation 2.9 Monologues 2.9.1 The inevitability of monologues 2.9.2 A monologue is more than a device 2.10 Summing up 2.1 1 Activities: aids to answers 2.12 Glossary 2.0 AIMS AND OBJECTIVES In this Unit you are not learning about the nature of dialogue in drama only. It has a wider scope. It discusses the general principles of writing dialogues and monologues, one of which is that by dramatising our ideas in fiction, poetry, news reports, etc., we achieve certain effects which we can't otherwise. ~ialoguesand monologues, used skilfully, can make writing vivid and authentic. You will now learn that: e the essence of dramatic dialogue in drama is its relation with characters and events; dialogue can add life to many forms of writing, such as fiction, poetry, drama, news reports; in each of these the dido yetells us essential truths about the characters and the situation; dialogue reveals the personality of the speakers; even when they seem to talk out of character they may be revealing some unknown aspects of themselves; or they may reveal any changes they may have undergone in the course of the incidents; dramatisation is a more direct and quick way of telling us the entire truth about the characters involved in a story; monologues are inevitable in certain situations, e.g., loneliness and grief.
    [Show full text]
  • Laughing out Loud: Taking a Stand on Standup for the ESL Student Kathy Zimbaldi Westside High School INTRODUCTION I Am a Seconda
    Laughing Out Loud: Taking a Stand on Standup for the ESL Student Kathy Zimbaldi Westside High School INTRODUCTION I am a secondary ESL teacher at Westside High School in HISD. I teach 10th, 11th, and 12th grade classes of Advanced and Transitional students, and my class populations are extremely diverse both culturally and linguistically. While many students are native Spanish speakers, most are from South America rather than Mexico. And while some of my Asian students are Chinese or Vietnamese, others are from Thailand, Bangladesh, or India. The native Arab speakers are from Iran, Lebanon, and Palestine, while the African ESL students are from Angola, Cameroon, or Nigeria. Unlike my previous ESL teaching experiences with 100% Mexican populations, my Westside High classroom is a mini-United Nations! While my own learning curve is steep as I seek to meet the needs of this very diverse group, I still try hard to maintain an atmosphere that keeps the affective filter low as my students struggle to learn in a second language. My goal is to promote a stress-free zone that encourages risk- taking; if we are to make steady progress toward language proficiency, then students must be comfortable manipulating that language. I choose to teach with a generous level of flexibility in the ESL curriculum, and I am fortunate to have the full support of my principal in this regard. Like Robin Williams’ students in Good Morning Vietnam or Bill Murray’s in Stripes, my students seem to appreciate any efforts I make to engage and entertain them as we tackle the more daunting lessons in English language learning.
    [Show full text]
  • Dramatic Monologue: Defining the Genre
    Abstract THROWN VOICES: A SERIES OF DRAMATIC MONOLOGUES, WITH A DISCUSSION OF THE GENRE by Matt Finch June 2010 Director: John Hoppenthaler Department of English This thesis examines the complex nature of the poetic genre of the dramatic monologue by providing multiple perspectives on the genre—namely, those of the literary critic and the creative writer. This thesis provides a selection of original dramatic monologues in various styles and featuring characters ranging from the prophet Jeremiah to a modern-day plastic surgeon, tied together by the theme of imaginatively filling in historical gaps and erasures with speakers in times of great political or cultural upheaval. Prefacing this collection of poems is a discussion of the genre of dramatic monologue, beginning with a general overview of the development and features of the genre, followed by a discussion of specific issues involved in writing this collection. ©Copyright 2010 Matt Finch A Thesis Presented To The Faculty of the Department of ENGLISH East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Matt Finch June 2010 THROWN VOICES: A SERIES OF DRAMATIC MONOLOGUES, WITH A DISCUSSION OF THE GENRE by Matt Finch APPROVED BY: DIRECTOR of THESIS: ________________________________________ John Hoppenthaler, MFA COMMITTEE MEMBER: ____________________________________________________ E. Thomson Shields, PhD COMMITTEE MEMBER: ____________________________________________________ Anne Mallory, PhD CHAIR OF THE DEPARTMENT OF ENGLISH: ________________________________________________
    [Show full text]
  • The Best Men's Stage Monologues
    2014 THE BEST MEN’S STAGE MONOLOGUES 2014 THE BEST MEN’S STAGE MONOLOGUES Edited by Lawrence Harbison SMITH AND KRAUS PUBLISHERS 2014 CAUTION: Professionals and amateurs are hereby warned that the plays represented in this book are subject to a roy- alty. They are fully protected under the copyright laws of the United States of America and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth) , The Berne Convention, the Pan-American Copyright Convention and the Universal Copyright Convention as well as all coun- tries with which the United States has reciprocal copyright relations. All rights, including professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved. All rights reserved. ISBN: 1-57525-887-0 ISBN: 978-1-57525-887-4 ISSN: 2329-2695 Typesetting and layout by Elizabeth Monteleone Cover Design: Borderlands Press A Smith and Kraus book 177 Lyme Road, Hanover, NH 03755 Editorial 603.643.6431 To Order 1.877.668.8680 www.smithandkraus.com Printed in the United States of America TABLE OF CONTENTS FOREWORD 11 Lawrence Harbison A COMMON MARTYR 13 Michael Weems A DELICATE SHIP (2) 15 Anna Ziegler A KID LIKE JAKE 17 Daniel Pearle A SEAGULL IN THE HAMPTONS (2) 19 Emily Mann AND AWAY WE GO 23 Terrence McNally BASILICA (2) 25 Mando Alvarado BIRD IN THE HAND (2) 28 Jorge Ignacio Cortiñas BODEGA BAY 30 Elisabeth Karlin BROKEN FENCES (2) 31 Steven Simoncic BRONX BOMBERS 33 Eric Simonson BUZZER 35 Tracey Scott Wilson CATCH THE FISH 36 Jonathan Caren DETAILS 38 David L.
    [Show full text]
  • Frankenstein Audition Packet
    FRANKENSTEIN Audition Information Thank you for your interest in auditioning for our fall production of Frankenstein, a chilling and intriguing drama based on the classic story by Mary Shelley. There are many great roles, both large and small. This packet carefully outlines everything you need to prepare for your audition. Please take the time to read the entire packet. Auditions are August 30-31 and Call Backs are September 1-2. What do you need to do to prepare for your audition? 1. Sign-up for an audition time through doodle.com. 2. Complete all the required forms (included in this packet) and bring them to your audition. 3. Prepare a 2-3 minute dramatic monologue. You may choose one larger piece or two different dramatic pieces that do not exceed a total of 3 minutes in length. Enclosed you will find the required forms and important information to review. Before auditioning make sure you have the time to make the commitment required to be cast in the show. If you have questions, please do not hesitate to ask. Sincerely, Adam Othman, Theatre Director Mission Statement The Seattle Preparatory School Theatre Program is designed to enable students to discover their creative abilities while inspiring them to strive for artistic excellence. Our mission strives to achieve the following goals: • To produce the highest quality performances we are capable of creating • To challenge ourselves with productions that stretch our talents and abilities • To encourage students to attain a mastery of the theatre arts • To develop a life long appreciation for and involvement with theatre • To develop integrity, positive attitude and rigorous work ethic in our company Page !1 Frankenstein Information and Expectations Auditions: Auditions are open to all interested Seattle Prep students.
    [Show full text]