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Camelot Audition Announcement the White Theatre at the Jewish The White Theatre - Camelot Audition Announcement The White Theatre at the Jewish Community Center of Greater Kansas City will be holding auditions for our 2018/2019 Fall Musical: Lerner & Lowe’s Camelot. Direction by Rachael Redler, Music Direction by Marsha Canaday, and Choreography by Stefanie Stevens. Audition Location: The White Theatre at the Jewish Community Center of Greater KC 5801 West 115th Street Overland Park, KS 66211 Performances: November 3, 8, 10, 15, & 17, 2018 @ 7:30pm November 4, 11, & 18, 2018 @ 2:00pm Possible private performances on Friday, November 9th and Friday, November 16th. Rehearsals: • Begin Tuesday, September 25th and run Monday through Thursday 6-10pm and Sunday 2-6pm. o All rehearsals will be held at the White Theatre, 5801 West 115th Street, Overland Park, KS 66211. Audition Information Saturday, July 28th – General Vocal Auditions • Please prepare 16-32 bars of a song in the style of the show. o No songs from the show. o An accompanist will be provided. ▪ Please have your music clearly marked for the accompanist. ▪ No a cappella or track/CD auditions please. • Please bring a resume and headshot. • If you are ONLY auditioning for the role of Tom of Warwick please sign up for a vocal audition time slot, however you will not need to prepare a song as these auditions will consist of a cold reading from the script. 11am -2pm: Vocal Auditions by Appointment • Auditioners will be seen in 5 minute slots. • To schedule an audition time please email April Kobetz, White Theatre Production Manager, at [email protected]. o Please include your full name and phone number with your audition request. o Appointment requests will be processed in the order they are received. Please allow 2 business days for your audition request to be processed. o Once your request has been processed you will receive a confirmation email with your appointment time, a preliminary rehearsal calendar, and any other pertinent information. • Appointments can only be made via email. Please do not call or use social media to request an audition appointment. 2-3pm: Walk up Vocal Auditions • No appointment needed. All auditioners who arrive and register by 3pm will be seen. **There will NOT be a dance audition on July 28th** Call Backs - By Invitation Only Monday, July 30th, 6-10pm The White Theatre - Camelot Audition Announcement • Callbacks will include a dance audition, vocal selections from the show, and scene readings. o Please be prepared to stay for the entire callback time. About Camelot Borrowing from the Arthurian legends, Lerner and Loewe’s Camelot is the duo’s fantastical masterpiece which triumphed on Broadway in a legendary original production that lead to a film version, and numerous revivals in New York, London and across the globe. Its Original Broadway Cast Album topped the charts for 60 weeks, with a rich score boasting such gems as "If Ever I Would Leave You," “I Loved You Once in Silence,” "The Lusty Month of May," and of course, "Camelot." An idealistic young King Arthur hopes to create a kingdom built on honor and dignity, embodied by his Knights of The Round Table. His Ideals, however are tested when his lovely queen, Guenevere, falls in love with the young Knight, Lancelot and the fate of the kingdom hangs in the balance. Characters ARTHUR 20s-40s (low A to high E flat) King of England, ruler of Camelot: a noble, ambitious, charismatic, and idealistic leader. Arthur is at once wise, generous, compassionate, and boyish – rather unsure of himself, yet an inspiration to others. A rich and complex character. Strong actor. GUENEVERE 20s-30s (low B flat to high A) Queen of England: headstrong, naïve, idealistic, loving, passionate, conflicted. A young, spirited woman who is quite caught up in chivalry and the exciting possibilities of a promising life. She is devoted to Arthur and supports his causes, but is very much thrown by the arrival of Lancelot. Strong actor/singer. LANCELOT 20s-40s (low A to high B) “The greatest knight in the world,” whose only weakness is his love for Guenevere. Chivalrous, passionate, somewhat conceited, handsome. An abundantly self-assured, skilled warrior from France, he is extremely pious and not particularly well liked by anyone except Arthur. He is a passionate disciple of Arthur and his Round Table. Strong actor/singer. KING PELLINORE 40s-70s Dedicated to Arthur and one of his closest friends. Very eccentric. A wonderfully funny and stuffily “British” old knight. Strong comedic actor. MERLYN 40s+ The famous wizard who teaches Arthur almost all he needs to know. Wise and stern yet patient. He disappears after the second scene in the show. MORDRED late teens-early 30s (low C to high D) A truly evil young man. Illegitimate son of Arthur; wily, conniving, malicious. A thoroughly and fascinatingly unlikable fellow who enjoys stirring up trouble. Strong actor. SIR DINADAN A Knight of the Round Table who serve Arthur; devoted to Guenevere and doesn’t care for Lancelot. SQUIRE DAP 20’S-30s Lancelot’s Squire. Loyal, reliable and obedient. Provides some comedic relief. NIMUE (low C sharp to high F sharp) The “nymph” who lures Merlyn away with her hauntingly beautiful singing. Strong singer. SIR LIONEL A Knight of the Round Table. The White Theatre - Camelot Audition Announcement SIR SAGRAMORE A Knight of the Round Table. SIR DINADAN A Knight of the Round Table. MORGAN LA FEY 20s-50s The half-sister of Arthur and aunt of Mordred. She uses sorcery to thwart Arthur and his allies. TOM OF WARWICK 10-15 A young boy, who wants to join King Arthur’s army. Our reason for leaving the theater with hope. LADY ANNE Lady-in-Waiting to Guenevere; elegant, chatty. LADY SYBIL Lady-in-Waiting. CHORUS Knights, Heralds, Lords and Ladies of the Court; solos to be assigned (Guilliam, Colgrevance, Bliant, Castor, Clarius, Catherine). A note on accents: This production will use heightened speech rather than accents. An effort will be made to achieve a more rounded “proper” tone for the characters, instead of utilizing geographically based accents, while maintaining a natural cadence. Please use your regular speaking voice for callbacks; we will work on speech during the rehearsal process. .
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