Archives for category: Auditions

 

The 2020 Milwaukee Diversity Auditions will take place February 17, from 9:30am – 4:30pm.

 

Who Should Sign Up?

 

Auditions are open to individuals who identify as at least one of the following:

 

Asian, Pacific Islander, or Asian American

Black, African, Caribbean, or African American

Indigenous, First Nation, or Native American

Latinx/o/a or Hispanic

Middle Eastern, North African, or Arab American

South Asians or South Asian American

Native Hawai’ian or Other Pacific Islander

 

Transgender

Gender Non-Binary, Genderqueer

Agender, Neutrois

Bigender, Androgene

Aporagender, Third Gender

Polygender, Multigender

Genderfluid, Genderflux

Intersex

Other Underrepresented Forms of Gender Identity

 

 

Auditioners must be 18+ and a resident of Wisconsin.

 

At this time, we are also accepting:

  • Headshots and resumes from actors of diverse sexual and affectional orientations and actors with disabilities. Please email your resume and headshot to alex.scheurell@allin-mke.com.

  • Director and Designer resumes and portfolios from individuals who identify as female and/or any of the aforementioned underrepresented groups. Please email your resume and portfolio to alex.scheurell@allin-mke.com.

 

How to Sign Up to Audition?

 

To sign up for a time slot, please email auditions@allin-mke.com by January 31, 2020. Once you’ve emailed your interest, you will receive a form to complete. Upon the submission of your completed form, you will receive confirmation of your slot.

 

Auditions slots will be awarded on a first come, first serve basis. If the audition becomes filled, you may be placed on an alternative list in the event of cancellations.

 

What Should I Prepare and Bring?

Each actor will have four minutes to perform two contrasting monologues or one monologue and one song. An accompanist will be provided.

 

Please come 15 minutes before you slot and bring 22 copies of your headshot and resume. If you are singing, please also bring sheet music for the accompanist.

 

If you have a financial barrier that would prevent you from otherwise participating in this audition, please email alex.scheurell@allin-mke.com and we will try to assist you in overcoming this barrier.

 

Participating Theaters:

All In Productions
Boulevard Theatre

Black Arts MKE
Bronzeville Arts Ensemble

Cabaret Milwaukee

First Stage Children’s Theater

Forte Theatre Company

Forward Theater Company

Kohl’s Wild Theater

Milwaukee Chamber Theatre

Milwaukee Opera Theatre

Milwaukee Repertory Theatre

Next Act Theatre

Optimist Theatre/Shakespeare in the Park

Outskirts Theatre Co.

Renaissance Theaterworks

Schmitz and Giggles

Skylight Music Theatre

Summit Players Theatre

The Box Theatre Co.

Voices Found Repertory

Windfall Theatre

 

Location:

Next Act Theater

255 S Water St, Milwaukee, WI 53204

Best,

Joy Pouros (she/her) | Marketing Director

414.510.8302 | joy.pouros@allin-mke.com

allin-mke.com | Facebook


I’ve been remiss in posting this. The Milwaukee Generals are almost upon us, so I thought now would be a good time to revisit some thoughts on auditioning. Here are my thoughts from several years ago. I’ve done a bit of judicial editing, but my thoughts on this process haven’t changed that much. Hope it helps.

 

Fletcher

 

Having sat through the Milwaukee Generals for over a decade now, I’ve come across all sorts of things that auditionees do which sabotage the work at hand. I’m continually amazed by some of these gaffs, but to be fair, how could they know? If you haven’t been in that room, and you haven’t been auditioning for years, or had some really good teachers and/or mentors, some of these gaffs might be understandable. And I understand just how hard and awful the process of auditioning is having been an actor for the last 35 years. To that end I’ve decided to share some of the dos and don’ts of auditioning. I throw in the caveat that these are strictly from my own viewpoint and that while they deal with auditioning in general, they are specific to the peculiarities of myself and the Milwaukee Generals.

 

I’m dividing this tutorial into three parts: the Introduction, the Headshot and Resume, and the Audition.

 

The Introduction 

 

If you have the chance (and that’s a big if) take a peek at the room you are going to walk into ahead of time. Auditioning is an intimidating thing and walking into a room blind is hateful. Find out where the auditors are going to be sitting and figure out where you are going to sit or stand. Find out if there is a chair available and what kind it is. Nothing worse than preparing a piece that requires you to spin a chair around and sit on it backwards only to find out that the chair has arms. For those of you new to the Milwaukee Generals, you are walking into a room to face a group of auditors in a horseshoe configuration. 

 

If you walk into the room and you find that there are auditors behind you, you’ve come in too far. Back up so that we can see your face.

 

Take your time introducing yourself and your pieces. Know that we are furiously passing your headshots around as quickly as we can, flipping them over and pouring over your resume, and then trying to catch what pieces you are going to do and in many cases trying to jot that info down. We see a lot of auditions over this long day and it’s extremely difficult to keep them straight. Give us a chance to remember you. I’ll never fault an auditionee for taking his or her time introducing their pieces. When in doubt, wait until the majority of us have finished and are looking back up at you before you begin your first piece.

 

Don’t undress in the room. This is a rather new phenomenon that has started happening lately. When you walk into the room, be prepared to go. I don’t want to see you come in, and then slowly take off a coat, scarf, shirt or any other item of clothing as you are introducing yourself. That’s odd and distracting. Leave that stuff outside.

 

This is for both your intro and exit; don’t apologize for your audition. Look, you only get one shot at this, so no matter how poorly you’ve prepared or think you’ve done during the audition, do it boldly and with a smile on your face. I can’t tell you how many people come into the room with the body language of, “Uh, hi. I don’t really know why I’m here and I’m sorry to waste your time.” Conversely, I’ve seen a lot of people who have finished a perfectly fine audition and then ruin it by sheepishly excusing themselves on the way out. Don’t do it! It sucks all of the energy out of your audition.

 

Generally speaking, goofy introductions and/or exits will fall flat and have a good chance of being irritating. I know it’s a defensive thing, but just don’t do it. Come in, smile and introduce yourself. When you are finished, say thank you. Resist the urge to ask us if we have any questions or if there’s anything else we’d like to see. Trust me; if we have any questions we won’t let you leave the room until we know the answers.

 

Give us the info we need. We need to know the character you are playing and the play it is from. That’s it. But give us both of those things. Don’t name the play but not the character, or worse yet, not tell us anything at all. This seems particularly true of Shakespeare. Don’t make it a guessing game. Conversely, don’t give us too much information. I don’t need to know the author and I certainly don’t need to be told that Hamlet was written by Shakespeare. And occasionally an auditionee will give us a summary of the piece they are about to give. Nope, don’t do it.

 

While we are on the subject of introducing your pieces, proceed to do your pieces in the order in which they were introduced. Different auditors are there for different reasons. Shakespeare companies have less interest in your modern/comic piece and are waiting for the Macbeth you are going to give them. If you say you are going to do your classical piece second, do so. They may use that brief period of time while you are performing your first piece to scan your resume and see what other classical pieces you have done and where.

 

Oftentimes the audition goes wrong during the intro. I spend a whole day with my students having them do nothing but walking into a room and introducing themselves. This is surprisingly difficult, and few people spend any time working on that part of their audition. Auditionees actually stumble over their names, forget what pieces they are doing, mispronounce the playwright’s name (which is just one more reason that info is unnecessary), mumble their info in such a way that we can’t understand it, or turn their back and drag a chair across the room while making their intro. Enter the room. If you are going to use a chair make a decision; either get the chair, pick it up and set it where you want and then introduce yourself, or introduce yourself and then get set. Trust me; we will welcome the extra time to look at your resume.

 

Unless we stand up and stick our hands out, no need to come over and shake our hands. As I’ve stated, we’re going to a whole lot of people over the course of this very long day. There are also upwards of twenty people in that room, and you won’t want to shake all of our hands.

 

The Headshot and Resume 

 

Look like your headshot. It’s bothersome when you don’t. You’re a little heavier than you’d like to be? So what? Maybe we’re looking for just that heavy person. It’s going to be very difficult to remember you later if you don’t look like your headshot.

 

Staple or glue your resume to your headshot. I can’t tell you how irritating it is to get a loose resume. Or worse yet, one in which the resume is attached in such a way that it covers your headshot. It does nothing but make you look unprofessional and your audition might fail right there before you even get in the room. And take the time to trim it to fit. I file these away and those odd sized ones just might not make it into my filing cabinet.

 

While we’re on the subject of attaching your resume, don’t attach anything else. I’m really happy you’re currently employed with your one-man show, but I don’t want a flyer or postcard attached advertising said show.

 

Leave white space on your resume. We’re doing everything we can to remember the interesting things about you in case we should want to cast you. If you jamb-pack your resume from margin to margin we have no room for such notes. It also makes them hard to read and smacks of desperation. “Look how much I’ve done!” We don’t need to know everything you’ve done and if you have stuff on there from twenty years ago you might think about some judicial editing.

 

Use a decent sized font. We’re at this all day and my eyes get tired. If you give me an 8 point font I might just give up on it after reading your name. Also, weird or funny fonts are irritating. I want to work with professionals and that might make me question that prospect. It just adds an extra hurdle where I don’t need one. And if you use comic sans I will throw your resume away.

 

There is a somewhat uniform way of setting up your resume. Feel free to diverge, but just know that doing so will increase the likelihood that I won’t be able to find the info I’m looking for quickly. At the top should be your name and under that your vitals.  Height, weight, eye color, hair color, telephone and email address. If you are a singer, you may want to put your vocal range. Do not give us your address. In this day and age, that simply isn’t safe and every now and then you send your resume to an unscrupulous person who turns around and sells that information to other places. Don’t include your age or tell us what your age range is. That’s our job and why would you want to limit yourself that way? Likewise, don’t include the dates of your productions.

 

Below your name and vitals should come the body of your resume which is your stage experience. There are four things I want to know here: the theatre you worked at, the show you did, the part you played and who directed you. Set them up in neat columns so that I can easily scan through them. Don’t be afraid to list multiple shows with one theatre, that’s a good thing; that says that you worked at that theatre and they liked you enough to ask you back. I am very leery of the auditionee that has 30 theatres listed and has only one show at each of them.

 

Below the stage experience section should be your education and special skills. Still in high school? It’s okay, we won’t hold it against you, so don’t be ashamed of it. Tell us where you went to school and who some of your teachers were, but leave your GPA off. Those names may open up a conversation. I’m not really interested if you took a weekend class here or there. Special skills should be special. I don’t know how special having a driver’s license is. Fire eating is more impressive (although one year, quite a few people had that listed) and I certainly want to know if you can speak a foreign language fluently. I assume a good actor can learn dialects, so for me that’s not something I need listed. You may have a lot of film and/or TV credits or you may have a lot of directing credits, but that’s not what we’re here for. I’m here to audition stage actors. In this day and age you should be able to have several different resumes at your disposal. If you are coming to the Milwaukee Generals, cater your resume to your clients, which are almost exclusively theatres.

 

Have enough resumes. If we don’t walk out of the room with your headshot and resume it’s unlikely we’ll ever contact you.

 

Don’t lie on your resume. It’s likely this will come to light and then you’ve lost all credibility. If you took a weekend class don’t make it sound like you received a degree. If you took a beginning improv class don’t say you are part of the troupe. If you were Gregory in Romeo and Juliet once upon a time, don’t claim that you are a trained fighter. You’re not. We know, we always know.

 

The Audition 

 

So now we come to the heart of the matter. First, know that within the first ten or fifteen seconds we have a sense if you fit into what we are looking for. Sometimes we’ve already made up our minds during the intro. That’s just the way it goes. Knowing that, limit the length of your pieces. They really should be no longer than a minute a piece. I spent one whole afternoon timing auditions. I would look down at my watch when I started to lose interest and it was always between 55 and 65 seconds. Even if you’re great, going beyond that is too much. In the past, many people were going over three minutes and that was just for one of their pieces. Leave us wanting more.

 

In picking your pieces be very selective. If you choose something offensive it is likely to offend and turn off at least a few people in the room. Have a really good reason for picking such a piece. Of course, if you are still looking for a piece right now you are probably in trouble.

 

Don’t do stand up. I’ve never seen it work and theatre is not stand up. I’ve also never seen a piece that an actor has written for themselves work.

 

Contrast your pieces. That doesn’t mean that one has to be modern comic and the other classical dramatic. You can contrast two modern funny pieces and I will be quite delighted. But standing during one and sitting during the other is not contrast. Show us two different sides of yourself and hopefully those two pieces are different than your introduction. Remember that your intro is a chance to show us a different side of yourself that will be contrasted by your two pieces. Prove that you can act.

 

Don’t do serial killer monologues. They are overdone and not usually all that interesting.

 

Don’t find a monologue in a monologue book. They generally aren’t very good and they are overused. Nothing like seeing the same bad monologue four times in the same day. Read plays, lots of them, and find something that speaks to you.

 

People bend over backwards trying to find the obscure Shakespeare piece that no one has ever seen. In doing so they generally go to some of Shakespeare’s lesser known plays. You know why they are lesser known? Because they’re not as good. You know what I’ve never seen? Someone audition with Hamlet’s “To be or not to be.”

 

Women’s monologues from Shakespeare are hard in that there are vastly fewer of them. We’re going to hear a lot of Hermia from Midsummer, Viola from Twelfth Night, and Rosalind from As You Like It. If it speaks to you and you can bring something fresh to the part, go for it! Just know that you might want to beef up your monologue book with a few other choices.

 

Don’t wear anything that is more disturbing or more interesting than you. I’ll spend the whole audition wondering, “Why did he wear that?” instead of watching your audition. Look nice, but make sure you are comfortable and can move around. And unless you live in a suit and tie 24/7, don’t wear a suit and tie. It always comes off as amateurish.

 

There is the funny monologue trap. I don’t find them very engaging for a couple of reasons. The first is that I’ve likely seen it too many times. I love Christopher Durang, but I don’t need to see a monologue from Laughing Wild ever again. The second is that I want to see you in an actual scene interacting with another or others. I want to see your struggle or your triumph, not a funny anecdote.

 

Feel free to use me as your point of focus. I will always sit in one of the corner seats for just that reason. But know that not everyone is okay with that. If you focus on one person the whole monologue, one of two things may happen: they may turn away defensively and not see your audition, or they may freeze, afraid to turn their eyes away. Me, I don’t care, I’m happy to be your focal point, however, if you stand two feet in front of me and confront me, you’re going to lose me. I’ll still stare straight at you and be the best audience member I can be, but I’m no longer really watching you. I’m beginning to wonder if you’re crazy enough to jump the table, and others in the room are starting to wonder the same thing.

 

After you are done with a piece do not say scene. Worse yet, do not wave your hand in front of your face and say scene.

 

Do make your transitions clear and clean. Do something, usually a physical move, to let us know one piece has ended and the next has begun. Of course, if they are highly contrastable pieces, that shouldn’t be a problem.

 

If you have an emotional piece and are able to go to that place, good for you. If you end that piece and take a long time coming out of it and composing yourself, showing us just how hard that was, you’re going to lose me.

 

If you get off to a bad start, ask if you can start over. We will always say yes.

 

No props. We’ll see the letter in your hand if you are invested in your scene. And never, ever, ever…NEVER! bring a gun into the room. Especially not one loaded with a half-charge blank which you then hold to your head and pull the trigger. Sigh. It now needs to be said.

 

And that’s my spiel. I’m sure other things will come to mind and I’ll update this from time to time. I also welcome observations from other auditors whether they agree with me or not. Know that during the course of my stumbling career I have made many of these mistakes myself, and it was only because some kind person took me in hand that I got past some of them.

 

Be bold and good luck.

 

Fletcher

 

P.S. The people in the room really want you to be good. We’ve got a lot on our collective minds during the course of that very long day. Please don’t read anything into our dour faces. And know that if you come in with a bright smile and a chipper attitude we will immediately light up.

 

P.P.S. Be kind to those folks out in the lobby taking your resumes.

 

P.P.S. If something happens and you can’t make your audition, call. It’s a black mark against you if you are a no show, no call. Some people who couldn’t get an audition slot may be able to slip in.


Auditions will take place Wednesday, December 11th from 6:00pm – 8:30pm and Saturday, December 14th from 11:00am – 3:30pm. Callbacks, if necessary, will take place on Monday, December 16th at 6:00pm. Sides will be provided.

Please prepare a monologue you are comfortable with (1 to 2 minutes). A piece in the style of the show or with a dialect is not required, but always welcome. Bring a head shot and resume.

Evening rehearsals will begin January 20th.
The show runs March 5th-8th and 13th-15th.
Actors will be paid a stipend.

Eight actors will portray nineteen characters. All characters will have either a Standard English or a Cockney dialect. Previous dialect experience is a plus, but there will be dialect coaching for everyone within the first several rehearsals.

PLEASE NOTE: The role of Joseph Merrick has already been cast.

ROLES:
Frederick Treves (age 25-35): a surgeon and a lecturer
F. C. Carr Gomm (age 40-65): an administrator of the London Hospital
Mrs. Madge Kendal (age 20-35): an actress
Ross/ Bishop Howe (age 25-65): a sideshow manager/ a bishop
Nurse Sandwich/ Princess Alexandria/ Pinhead (age 35-65)
Policeman/ Porter/ Lord John (age 20-45)
Count[ess]/ Snork/ Pinhead Manager (age 20-65)

*IMPORTANT: The role of Mrs. Kendal requires a scene with brief nudity. Though it has not yet been decided to what degree (full or partial), the actor portraying her must be prepared for this possibility and willing to perform it as such. Options and alternatives (such as period-appropriate undergarments, blocking, etc.), will be discussed with the actor after casting.

SIGN UP FOR AN AUDITION SLOT HERE: https://www.signupgenius.com/go/4090d44afad28a4fc1-elephant


 

NOISES OFF will be directed by Dustin J. Martin. Auditions will consist of reading from the script.

Auditioners will be asked to fill out an Audition Information Sheet prior to auditions; one may fill this out the night of the auditions or ahead of time by downloading the Audition Sheet – NOISES OFF. You must be available for EVERY technical rehearsal (Friday before Opening through Preview Night) and EVERY performance to be cast in this show. In addition, due to the challenging nature of this show, we will not have a great deal of flexibility with conflicts.

Auditions: Monday, December 9 and Tuesday, December 10, 2019

Callbacks: Wednesday, December 11, 2019

Rehearsals: Limited rehearsals (table work) begining December 22, 2019 – January 11, 2020

Full Rehearsals begin Monday January 12 – Thursday, February 26, 2020

Performances: Friday, February 27 – Sunday, March 15, 2020

Read further for a synopsis and character descriptions.

Scripts are available for check-out at the box office for a $10 cash deposit.

Box office hours are Tuesday 1 pm – 7pm

Wednesday – Friday 1 pm – 5 pm & Saturdays 1 pm – 4 pm

Contact Ann Mather at amather@sunsetplayhouse.com or 262-782-4431, ext 221 if you have any further questions or if you plan to arrive later than 8:30 pm for auditions.

Synopsis

As a company of actors attempts to deliver a comedy onstage, we go behind the scenes where the real farce explodes. Everything that can go wrong does, as the actors try desperately to hang onto their lines, their sanity, and their clothes. This stage classic takes a fond look at the follies of theater folk whose out-of-control egos, memory loss, and passionate affairs turn every performance into a high-risk adventure.

 

Character Descriptions

Female Characters

 

Dotty Otley (age 45-65): Dotty (offstage) is a veteran actress who has put up her life savings to mount Nothing On. She’s forgetful, dating Garry, though she attempts to make him jealous by meeting with Freddy. Mrs. Clackett (onstage) is a cockney housekeeper for the Brent’s home in England, hospitable, though slow.

 

Brooke Ashton (age 20-29): Brooke (offstage) is a young, inexperienced actress who is always losing her contact lenses, one-third of a Lloyd-Poppy-Brooke love triangle. Vicki (onstage) is an English woman who works for Inland Revenue and is trying to woo Roger. This character will spend considerable time in just bra and panties.

 

Belinda Blair (age 30-45): Belinda (offstage) is cheerful and sensible, a reliable actress, may have feelings for Freddy; Flavia Brent (onstage) is Phillip Brent’s English wife, dependable though not one for household duties.

 

Poppy Norton-Taylor (age 25-35): The assistant stage manager, emotional and over-sensitive, envious of Brooke whom she understudies, carrying Lloyd’s child (not physically evident), one-third of a Lloyd-Poppy-Brooke love triangle.

 

Male Characters

 

Lloyd Dallas (age 45-65): British, director of the play Nothing On, a ladies man, temperamental, one third of a Lloyd-Poppy-Brooke love triangle.

 

Garry Lejeune (age 30–45): Garry (offstage) is an actor who never finishes a sentence, dating Dotty, easily fired up, unjustifiably jealous of Frederick, believing that Dotty was cheating on him with Freddy. Speech affectations disappear onstage but are ever-present offstage. Roger (onstage) is an English Real estate agent who is attempting to rent Flavia’s and Phillip’s home but uses it for his own personal benefit.

 

Frederick (Freddy) Fellowes (age 40-50): Freddy (offstage) is an actor with a serious fear of violence and blood, prone to nose bleeds, often questions the meaning of his lines and moves, must be able to jump up a flight of stairs with his pants around his ankles; Phillip Brent (onstage) is an Englishman who lives out of the country with his wife Flavia to avoid paying taxes, enters the country knowing that if he is caught by Inland Revenue he will lose most of the year’s income. Sheikh (onstage) is Middle-Eastern, interested in renting Flavia’s and Phillip’s home, he is the spitting image of Phillip.

 

Selsdon Mowbray (age 65+): Selsdon (offstage) is an elderly, alcoholic Englishman who hides his bottles all over the theater. If he is not in sight while rehearsing, the stage crew must find him before he passes out, is hard of hearing when he wants to be. Burglar (onstage) is an old Cockney man in his seventies breaking into the Brent’s home.

 

Timothy Allgood (age 20+): An over-worked stage manager, carpenter, company manager, understudy, gofer; understudies Selsdon and Freddy


FRANKIE & JOHNNY IN THE CLAIR DE LUNE Auditions at Sunset Playhouse, 700 Wall Street, Elm Grove, WI, 53122 262-782-4430 / SunsetPlayhouse.com
FRANKIE & JOHNNY IN THE CLAIR DE LUNE, part of our After Sunset Series, will be directed by Michael Pocaro “Paco” and be performed in the Marla Eichmann Studio Theater.
Auditions will consist of readings from the script. Auditioners will be asked to fill out an Audition Information Sheet prior to auditions; this may be done the night of the auditions or ahead of time at SunsetPlayhouse.com – FRANKIE AND JOHNNY IN THE CLAIR DE LUNE.
You must be available for EVERY technical rehearsal (Friday before Opening through Preview Night) and EVERY performance to be cast in this show.
Auditions: Monday, November 11 – Tuesday, November 12, 2019 7:00pm Callbacks: Wednesday, November 13, 2019 (if necessary) Rehearsals: TBD
Performances: February 6 – 8 at 7:30PM and February 9 at 2PM, 2020
Read further for a synopsis and character descriptions. Scripts are available for check-out at the box office for a (refundable) $10 cash deposit.
Box Office hours are Tuesday 1 – 7 pm, Wednesday – Friday 1 – 5 pm & Saturday 1 – 4 pm.
Contact Ann Mather at amather@sunsetplayhouse.com or 262-782-4431 ext. 221 if you have any further questions or if you plan to arrive later than 8:00 pm for auditions.
Synopsis As the curtain rises, Frankie and Johnny are discovered in bed. It is their first encounter, after having met several weeks ago on the job, and Frankie is hopeful that Johnny will now put on his clothes and depart so she can return to her usual routine of watching TV and eating ice cream. But Johnny, a compulsive talker (and romantic), has other ideas.
Character Descriptions Note: You must be 18 or over to audition for this show and be comfortable with possibly wearing lingerie/under wear on stage
Male Character Johnny – a short order cook
Female Character Frankie – a waitress

The Nether Auditions.png

Directed by Jaimelyn Gray, auditions for THE NETHER, by Jennifer Haley, will be held on Sunday, September 8th, from 11am-2pm at the Underground Collaborative, 161 W. Wisconsin Ave., Milwaukee.

Roles:

Sims/Papa, a successful businessman, late-40s–60s
Morris, a young female detective, late-20s/Early-30s
Doyle, a middle-aged science teacher, male, 40s/50s
Iris, a shining little girl, actor able to play pre-teen
Thomas Woodnut, a fresh-face guest, late-teens–late 20s

The Nether is a virtual wonderland that provides total sensory immersion. Just log in, choose an identity and indulge your every desire. But when a young detective uncovers a disturbing brand of entertainment, she triggers an interrogation into the darkest corners of the imagination.

Actors will read sides from the script. Materials will be uploaded to theconstructivists.org on or before Tuesday, August 27th. Sides do not need to be memorized, just become as familiar as you can with the material to make active choices. Also please bring one headshot and resume with you to your audition if we have not seen you within the past year.

Rehearsals will begin mid-January, with performances running March 6-21, 2020, at a location TBD. The Constructivists invite and encourage all persons to audition, including persons of color, all gender identities, and persons with disability.To reserve a time:

https://www.signupgenius.com/go/60b0a4da9ad2fa2ff2-auditions3

Questions? casting@theconstructivists.org

The Underground Collaborative is located in the Grand Ave. Enter at the TJ Maxx entrance and proceed to the lower level.


Man of La Mancha

by Dale Wasserman   Lyrics by Joe Darion and Music My Mitch Leigh

Sunday September 8th at 1:00 P.M.  and Monday, September 9th at 6:30 P.M.  Memories Dinner Theater  1077 Lake Dr.  Port Washington, Wi 53074

Directed by: Ralph Maffongelli and Musical Director: Janice Westphal

 

Preparation:  All roles are available. Those interested in auditioning should plan to attend both audition dates listed above.  Monday will be considered call backs.  Reading will be done from the script.    Please bring a prepared song, in the style of the show.  Music selection no longer than 2 minutes.  Bring sheet music in the correct key.  Pianist will be provided.

Please bring any/all known conflicts.

 

Show Synopsis:

Inspired by Miguel de Cervantes’ seventeenth-century masterpiece Don Quixote, MAN OF LA MANCHA is one of the most successful musicals in Broadway history. Powerful, brutal, hilarious, and heartbreaking, MAN OF LA MANCHA celebrates the perseverance of a dying old man who refuses to relinquish his ideals or his passion. The celebrated score includes “The Impossible Dream,” “I, Don Quixote,” “Dulcinea,” “I Really Like Him,” “Little Bird,” and “To Each His Dulcinea.”

 

 Character List:  14 Strong Actors required

  • Don Quixote
  • Sancho
  • Aldonza
  • Padre
  • Antonia
  • Housekeeper
  • The Governor/Innkeeper
  • The Duke/Dr. Corrosco
  • Captainof the Inquisition
  • Prisoner #1 – Horse, Pedro, Knight of Mirrors
  • Prisoner #2 – Horse, Muleteer, Knight of Mirror, Moorish Pimp
  • Prisoner #3 – Guard, Anselmo, Barber
  • Prisoner #4 – Maria, Moorish Girl
  • Prisoner #5 – Fermina, Moorish Girl 

This show has 7 Performances and runs November 1, 2, 3 and 8, 9, 10, 2019  (2 shows on Saturday, November 9th)  Show will be staged in the round.

Lisa Green

Operations Manager

Memories

262-284-6850

lisa@memoriesballroom.com

 

 


Auditions for DOUBT: A Parable at Sunset Playhouse, 700 Wall Street, Elm Grove, WI 262-782-4430, SunsetPlayhouse.com.

Monday, August 5 – Tuesday, August 6, 2019 7:00 pm

Callbacks: Wednesday, August 7, 2019 (if necessary)

DOUBT: A PARABLE will be directed by Becky Spice. Auditions will consist of reading from the script. The format will be a staged reading performed in the Marla Eichmann Studio Theater.

Auditioners will be asked to fill out an Audition Information Sheet prior to auditions; this may be done the night of the auditions or ahead of time at SunsetPlayhouse.com. You must be available for EVERY technical rehearsal (Monday before Opening through Preview Night) and EVERY performance to be cast in this show.

Rehearsals: Starting: August 19th. Monday – Thursday nights only. Total of about 12 rehearsals. Flexible schedule based on cast conflicts.

Performances: September 12 – 15, 2019

Performances: September 12 – 15, 2019

Click this link for a synopsis and character descriptions: http://sunsetplayhouse.com/volunteer-information/audition/

Everyone welcome. Scripts are available for check out at the box office with a $10 refundable deposit. Contact Ann Mather at 262-782-4431×221 it you have any questions. Thanks


Auditions for A COMEDY OF TENORS at Sunset Playhouse

Everyone welcome

 

Auditions: Monday, July 22 – Tuesday, July 23, 2019 at 7 PM

Callbacks: Wednesday, July 24, 2019 (if necessary)

Rehearsals: Monday, July 29 – September 4, 2019

Performances: Thursday, September 5 – 22, 2019

A COMEDY OF TENORS will be directed by Michael Pocaro “Paco” Auditions will consist of reading from the script. We are especially looking for 3 tenors (as the title suggests), however, you do not have to be a trained singer – we can help you.

Auditioners will be asked to fill out an Audition Information Sheet prior to auditions;; this may be done the night of the auditions or ahead of time by at SunsetPlayhouse.com. You must be available for EVERY technical rehearsal (Friday before Opening through Preview Night) and EVERY performance to be cast in this show.

Scripts are available for check-out at the box office for a $10 cash deposit.

Contact Ann Mather at amather@sunsetplayhouse.com or 262-782-4431, ext 221 if you have any further questions or if you plan to arrive later than 8:30 pm for auditions.

Synopsis

One hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans. What could possibly go wrong? It’s 1930’s Paris and the stage is set for the concert of the century–as long as producer Henry Saunders can keep Italian superstar Tito Merelli and his hot-blooded wife, Maria, from causing runaway chaos.

Male Characters

Saunders (age 40-65) High-strung American producer; he’s had success but worked very hard for it and it shows.

Max (age 30-60) Rising American opera singer and former assistant to Saunders, smart, level-headed, and quick with a joke; should also sing.

Tito/Beppo (age 30-65) He is Italian and one of Italy’s most famous opera singers. Regal in appearance, fiery in nature, has a bit of a diva complex, and is a horribly jealous person. Italian accent. The same actor plays Beppo, a bellhop–joyous and full of life–as down to earth as Tito is regal. Tenor.

Carlo (age 20-35) Dashing, young Italian opera impresario who is in love with Mimi but seen as a threat to her father’s career; speaks English very well. No detectable Italian accent and must sing.

Female Characters

Maria (age 30-54) A stunning Italian wife to one of Italy’s most famous opera singers, big personality, and an explosive temper. Italian accent.

Mimi (age 20-35) Bright-eyed Italian-American star hoping to be discovered. She is the daughter of Tito and Maria and, while they still think of her as their little girl, she is definitely coming into her own. American accent.

Racon (age 35-60) Racon is a famous Russian opera singer, former lover to Tito, a very intense and passionate woman. Russian accent, must also sing reasonably well.

 

Hope to see you at auditions!

Nancy Visintainer-Armstrong

Artistic Director

Sunset Playhouse

700 Wall Street
Elm Grove, WI 53122

262-782-4431 Extension 234

 


The Marvelous Wonderettes

by Roger Bean

May 20 & 21  6:30 P.M. Directed by:  Joe Feustel and Musical Director: Sandy Kasten

at Memories  1077 Lake Dr.  Port Washington, WI 53074

 

Preparation:  All roles are available. Prepare a song in style of show (Bring Music) Accompanist provided.   Learn a song from the show with parts, sing in group.

Please bring any known conflicts.

 

Show Synopsis:

It’s the 1958 Springfield High School prom, meet Betty Jean, Cindy Lou, Missy, and Suzy, four girls with hopes and dreams. As we learn about their lives and loves, the girls serenade us with classic ‘50s hits including “Lollipop,” “Dream Lover,” “Stupid Cupid,” and “Lipstick on Your Collar.”  Act two, the Wonderettes reunite to take the stage and perform at their ten-year reunion. We learn about the highs and lows the girls have experienced in the past decade and are charmed to find that no matter what life throws their way, they will conquer it together. Featuring over 30 classic ’50s and ’60s hits, The Marvelous Wonderettes will keep you smiling in this must-take musical trip down memory lane!  .

 

 Character List:  Roles for 4 Women

  • Cindy Lou (20-30)knows she is the prettiest girl at Springfield High. She knows she will be named Prom Queen and acts out against her best friend Betty Jean when things don’t go her way. She makes the biggest change between Act 1 & 2, having learned the lessons of true love and loss. Vocal Range: Mezzo-Soprano Belt: E3–F5. Sings melody line on most songs, so the other girls hang their vocals on this voice. Among the songs she sings lead are: ‘Allegheny Moon,’ ‘Son of a Preacher Man,’ and ‘Maybe’.
  • Missy (20,30)is the over-achiever of the group. Very controlled, very concerned that everything at the prom turns out wonderful and perfect. Head of the prom decorations committee; and absolutely smitten with her music teacher. Her best friend is Suzy. Vocal Range: Soprano: G3–A5. Wide range, floating high vocals and belting throughout the show. Among the songs she sings lead are: ‘Secret Love,’ ‘You Don’t Own Me,’ and ‘Wedding Bell Blues’.
  • Betty Jean (20,30)is the class clown, tomboy, always vying for attention with Cindy Lou, her best friend. It’s also highly probable that Betty Jean wants to be with Cindy Lou herself, but just doesn’t even know what those feelings really are. Cindy Lou steals Betty Jean’s boyfriend away, which causes a lot of the friction at the prom. She holds this grudge against Cindy Lou until they make up at the 10-year reunion. Vocal Range: Alto with strong low range: D3–E5. Among the songs she sings lead are: ‘Lipstick on Your Collar,’ ‘I Only Want To Be With You,’ and ‘That’s When The Tears Start.”
  • Suzy (20,30)is the gum-chewing, happy-go-lucky, go-along girl. Super-best friends with Missy, Suzy is always a little giddy and a little silly, and finds great pleasure in everything she does. In love with the lighting operator, completely surprised when named prom queen. Frustrated, sad, hormonal, and pregnant in Act 2. This role requires an excellent part singer.  Vocal Range: Mezzo-Alto with both sweet and soulful voice: G3–E5. Among the songs she sings lead are: ‘Stupid Cupid,’ ‘Hold Me, Thrill Me,’ and ‘Rescue M

ACTORS WILL BE STIPEND BASED ON ROLE AND EXPERIENCE.

Performances on July 16, 17, 18 and 23, 24, 25, 2019

Performances are Weekday Matinees with a 1:45 pm Curtain

Tuesday July 23rd also has a 7:45 pm evening show.

Rehearsals to begin Monday June 3, 2019, M-F ,evenings

 

 

Please contact Memories directly at (262) 284-6850 or email Joe Feustel,  Artistic Coordinator at joe@memoriesballroom.com with questions.