BHS Guys and Dolls audition packet

2014-2015
Belton High School Musical
Audition Packet & General Info
What’s in this packet?
Pg. 2 – Important Dates
Pg. 13-16– Male Audition songs
Pg. 3-5 – Rehearsal/Performance Rules & Info
Pg. 17-30 – Audition Scenes
Pg. 6 – Auditioning
Pg. 31 – Callback information
Pg. 7 – FAQ’s about Auditions
Pg. 32 – Audition Form
Pg. 8-10 – Musical Synopsis/Musical Numbers/Characters
Pg. 33 – Conflict Calendar
Pg. 11-12 – Female Audition songs
Pg. 34-35 – Rehearsal Schedule
Please read the entire contents of this packet and complete any and all forms with appropriate signatures
before you audition.
Important Musical Dates
Thespian Mixer/Dance Party – Meet thespian/drama club officers, Learn good audition techniques, ask
questions of the director about auditions.
August 18
3:00pm - 5:00pm
Forum Theatre
Vocal Auditions – Students will be asked to sing one of the audition songs attached.
August 19
3:00pm – 5:30pm
Forum Theatre
Dance Auditions – Students will be asked to learn a short dance routine. Dance experience is not required. *
Please wear clothing that will provide freedom of movement.*
August 19
3:00pm – 5:30pm
Band Room
Acting Auditions – Students will be asked to do cold readings from the script. (Possible audition scenes are
attached.)
August 20
3:00pm – 5:30pm
Forum Theatre
Technical Crew Applications – Any student interested only in a technical crew position should pick up a
Technical Crew application packet and turn in the application.
August 19 & 20
3:00pm – 5:30pm
Forum Lobby
Callbacks – Students who are considered for a leading role will be asked to sing a specific character solo or
possibly read again from the script. No prior preparation will be required for this. *If you are not called back that
DOES NOT mean you will not be cast in the show.*
August 21
3:00pm – 5:30pm
Forum Theatre
Audition & Technical Crew Position Results Posted
August 22
7:00am
Theatre Callboard at H.S., Theatre
callboard at FRC, and Yeokum Office
First Cast & Crew Meeting
August 22
3:00 – 5:00pm
Forum Theatre
Full Cast Read Thru
August 25
Forum Theatre
3:00 – 5:30pm
*Mandatory Parent Meeting - This is an informational meeting for parents about the play process and how
they can get involved and be supportive.
August 26
7:00 – 8:00pm
Forum Theatre
Cast & Crew Meeting #2
August 29
3:00 – 5:00pm
Forum Theatre
Show Dates
November 6
November 6 – 8
November 9
Forum Theatre
Forum Theatre
Forum Theatre
8am school matine e
7pm
2pm
Strike – All cast and crew are required to help take the set down and put all show supplies away.
November 9
4:30pm – 9:00pm
Forum Theatre
Musical Rehearsal/Performance Rules & Info
Rehearsal Times:
Not every actor will be required to attend rehearsal everyday. See the specific rehearsal schedule
attached to find out what characters are needed when. Rehearsals are typically Monday through Friday
3pm to 5:30pm. Unless there are extenuating circumstances, all studemts scheduled to be at rehearsal are
expected to remain there for the entire time. The week of the show will consist of late and long
hours for everyone involved in the production. Be sure your parents understand this before
you audition for the show.
Rehearsal Attendance and CONFLICTS:
The musical is a major extracurricular activity. If you are already participating in another major activity,
you must be willing to compromise and keep up in your schoolwork. YOU MUST ATTEND
REHEARSALS!
Be on time to rehearsals. If you insist on being late, we’ll ask you to withdraw from the show.
We will be operating on a “3 Strikes – You’re Out!” policy. If you have 3 unexcused
absences/arrive severally late/have to leave early from rehearsal – You will be Dismissed
and/or Replaced.
Illness is an accepted excuse except in chronic illness during which you would miss more rehearsals than
could be allowed. In the instance that you should become chronically ill and miss several rehearsals, your
participation level in the musical may be altered (i.e. given a different role or removal from some dance
numbers). Meetings, rescheduled (beyond normal daily scheduled) athletic practices, a rock concert, the
movies, extended family vacations, birthdays, and other such events will NOT be valid excuses for missing
rehearsals. If in doubt about any of these things, check with Mrs. Babcock.
We are aware that the musical is a huge time commitment. Attached is a conflict sheet. Parents and
students should take extraordinary care in filling this out. Any conflicts that are listed on the sheet will be
considered and “Excused absence,” and will not hinder your role in the show. However, conflicts during
mandatory rehearsals will need to be discussed with Mrs. Babcock directly. Anything not listed on the
conflict sheet, and considered “last minute,” risks being considered and “unexcused absence,” to which the
above applies.
Availalbility is important. Do not expect the directors to develop a rehearsal schedule to suit you. If you
plan to participate in athletics or you have a job, you must indicate this on your tryout form. This does not
mean we will work around your job schedule – it simply tells us who has a job and who does not. YOU
MUST plan your work schedule around rehearsals! It is your responsibility to be flexible if you want a
part, no matter how large or small. Please understand that a lead in the musical is just as
important as any other music or sport activity. For this reason, it is of the utmost
importance that you mark on your audition form any conflicts, since leads will be chosen
from those candidates who will be most available for rehearsals.
Having conflicts will not necessarily keep a student from being a part of the production. If we want you in
this show, we will try to be as flexible as possible and we ask you to do the same. If you are able to change
times and/or dates of lessons, classes, meetings, etc. then we ask that you do so first. The most important
part of this, however, is the upfront knowledge of what we are dealing with as far as schedules are
concerned. While we understand that emergencies do happen, it is detrimental to the process of creating
theatre to have people suddenly miss rehearsal because they “forgot” or has “something better to do.”
Check your rehearsal schedule daily to know when you are needed.
Rehearsal Behavior:
Misconduct at rehearsals will not be tolertated. This included, but is not limited to, complete disrespect for
director or other production staff, destruction of props, horse-play, and removal of any items from theatre
without permission from teacher/director. Any misconduct will result in dismissal from the production.
While at rehearsals, students are required to always dress comfortable and bring their scripts and a
pencil to make notes.
While we do the best we can to only call students to rehearsal when they are needed, inevitably things
don’t always go as planned. It’s important that students are prepared to use their down time wisely. We
suggest working on memorization of music, lines, or choreography. We also suggest that students bring
homework so they may keep up with their studies. Students should NOT use cellphones or IPODS
while at rehearsals. We want students to stay focused on their character and to pay attention to what is
going on in the play. Students should stay in the rehearsal area and not wonder off.
Rehearsal Change & Cast/Crew Communication:
In the rare event of a rehearsal change or cancellation, there will be announcements at each school.
Addtionally, every effort will be made to send out emails, texts &/or phone calls. We will do our best to
give plenty of notice for any changes.
*All cast and crew should sign up for REMINDER101 for information about rehearsals and
work calls. Text the # (424) 543-6435 with the message: @1158. Once you are signed up you will start
receiving important information about the production.
School Cancellations and Bad Weather Policy:
If school is cancelled or dismissed early because of weather conditions or other emergencies, rehearsal for
that evening will be canceled and made up later. If weather turns bad enough after school is dismissed
that you are not sure if there will be a rehearsal, we will activate a phone tree to call or test all cast
members.
Evening Rehearsals:
The Monday, Tuesday, and Wednesday the week of the show is also commonly referred to as Hellweek.
These are dress rehearsals which will combine all the technical aspects of the show with the work of the
cast. These rehearsals start right after school and could last as long as 11pm. It is our last chance to ensure
that the performance is successful. Students will have a dinner break around 6:30pm. Parents are
encouraged to participate in a group dinner for all the students. Food contribution lists will be sent out to
parents with plenty of notice.
Use of scripts:
You may write blocking and notes in your script books but only lightly in pencil. All books must be erased
when returnd or the company will charege an erasing fee, which we pass on to you. They usually charge
about $10.00. Lost or late script books will cost you $25.00. If you return a script late, you bought it! It
will then become a graduation obligation.
Script Memorization:
It is expected that all students learn, practice and memorize all their lines, songs and choreography by the
dates assigned. Start learning lines and songs right away.
Costumes:
All students participating in the cast will be responsible for their shoes. Ladies are expected to have black
or tan character shoes and gentlemen are expected to have black dress or dance shoes. If there are
financial concerns with the cost of the shoes please see Mrs. Babcock for confidential monetary assistance.
The majority of the costumes for the show will be provided by the drama club, however students may be
asked to bring in tems from their own wardrobe. Students are not required to purchase clothing but are
responsible for undergarments such as pantyhose. But parents may be asked to help create costumes.
*Performer Appearance:
Performers may be asked to alter their appearance for a roll. However, unless the director gives
permission performers are not allowed to alter their appearance until after the final performance. This
includes basic haircuts, hair dye, tattoos, piercing, etc.
Saturday Work Calls:
All cast and crew are expected to help with the technical aspects of the production during our Saturday
work calls from 9am to 5pm. Students will be assigned to a particular crew. Special arrangements may be
made for students with extenuating circumstances.
Cast Party:
Neither the school nor the director will be responsible for organizing or sponsoring a cast party. Typically
parents of a cast or crew member volunteer to host a get together for the cast and crew. Information is
usually available the week of the performance.
Musical and Academic Eligibilty:
It is expected that all students who particpate in the musical are MSSHAA eligible which means that you
may only have one Failing grade during the previous semester. If you do not meet these guidelines you will
need to discuss the situation with the activities office. You are expected to maintain your current semester
grades as well. In the same light, missing rehearsals because you have too much homework is not an
excuse. Students need to read the musical calendar and plan ahead to complete assignments.
Auditioning
Audition Disclaimers:
All students auditioning must be aware that previous participation in any Belton High School musical or
play DOES NOT guarantee you a spot in this year’s show. On the same note, students who held lead roles
in past years are NOT guaranteed lead roles for this year.
All auditioning are expected to come prepared knowing the audition song. Roles will be given based upon
preparedness and performance of the audition. Students who display extra effort by having music and
lines memorized, adding facial expression, movement, and characterization to roles will be rewarded with
higher audition scores.
All auditions are CLOSED to the public. No parents, siblings, or students who are not auditioning are
allowed in the auditorium. Only the musical production staff and auditioning students will be present
during the auditions.
During the audition you must –
Sing: Females choose between “Adelaide’s Lament” or “I’ll Know.”
Males choose between either “Guys and Dolls” or “Luck Be A Lady.”
DANCE - Learn a short routine from the musical then perform for the choreographer.
ACT out a scene from the show. Possible scenes are attached in this packet.
*Everyone auditioning must do all three – SING, DANCE, and ACT!
How will auditions be run?
Auditioners will be split up into multiple groups on Tuesday.
One group will go straight to choreography in the Band Room and learn a dance with the
choreographer.
The other group will wait to go into the theatre where you will be asked to sing your song in
front of the director and musical director in the theatre. You may also be asked to do some vocalizing to
check your vocal range.
Wednesday all auditioning will in the theatre where everyone will do some cold readings from the
script. *You may be given a short amount of time to go through the scene before you present it.
Your audition will be scored like this: Singing
Acting
Did you sing the right notes?
Did you read the correct words off the script, and were they loud
enough and articulate enough?
Did you sing the right words, and were they understandable?
Did you project?
Did you change your face and your voice to sing the song like the
character would? /Did you act out the song?
Did you change your voice to match what the character is
feeling?
Did you move your body to match what the character would do?
Did you try to connect with your character and with your
partner?
Thursday morning callbacks will be posted in front of Mrs. Babcock’s classroom and near the office at
the FRC or Yeokum. All those who are on the list must attend the callback in the theatre immediately
after school.
FAQ’S About Auditions and Casting a Musical:
 Do I have to sing by myself?
Yes, but the auditions are closed and you will only be singing for the director and the vocal director. During callback
auditions for lead roles students may be asked to participate in a sing off for a particular role.
 Do Seniors always get the principal roles?
No. Everyone comes into tauditions on the same level – no matter what grade or how many shows they have been in. If
there is a tie between two students of EQUAL TALENT the part will usually be assigned to the older student.
 Is the show pre-cast? Does the director know who she will cast before auditions?
No. The musical is chosen based on appropriateness of the show and the size of the cast that there can be. A director
looks for musicals with: a variety of principal and supporting roles; one or more chorus groups as well as something
dirrent from the previous musical. A director will aslo need to base a decision on the ability, talent and interest of the
existing student body.
 How can I get the role I want?
Do everything you can to show the director that you can fill this role. Speak/Sing with EXPRESSION. Express the
EMOTION of the song through your voice and body. PRACTICE so that you can avoid staring at the paper for the
words. PROJECT loud enough for someone to hear you in the back row. Make EYE CONTACT with the director and
LOOK OUT to the audience when you sing. USE GESTURES with your body, hands, arms, dead, eyes, etc. ACT
CONFIDENT – pretend that you are NOT nervous or afraid to be on stage. OBSERVE other students when they
audition – what impresses you or what would you improve. Take those observations and incorporate them into your
own audition. RESEARCH the show – find out what the show is about, who the characters are. You may want to check
out the script, listen to the CD, watch the movie. These are only suggestions, nothing is guaranteed. You are still
competing with other students of varying degrees of talent and experience but these suggestions will help you put your
best foot forward and to stand out from the rest of the students.
 How does the director assign the roles to students?
There are many things that are taken into consideration when assigning roles. Ability to sing &/or sell a song to an
audience on your own, ability to act, ability to speak clearly and with volume, behavior at auditions (folowed directions,
was helpful, respectful of others, auditioning, honest, a good leader, etc.), behavior during rehearsal and performances
of previous productions, how the student works at school and rehearsals, is the student a leader and a good role model,
attendance at school and if applicable past rehearsals for other shows, conflicts with the rehearsals schedule.
 Why didn’t I get the part I wanted?
It may be one or a combination of the above. A directo’s main task is to take the talent of each student that wants to
participate and use that talent for the good of individual and that production as awhole –from the principal role to the
chorus role. A director must coordinate and match the members of the cast so that they are balanced and feel
comfortable as well as be able to present the story to an audience with direction.
 If I don’t get a lead why should I be in the chorus?
The chorus is a very imprtant part of any production as they bring the musical to life with choreography, volume and
how they react to the dialogue and situations on stage. A WISE chorus member will pay attention to the principal roles
and blocking and learn those parts as well. If there is ever a problem and a principal actor cannot perform, a director
tends to look for someone within the cast to fill the role. The experience will also help you feel more confident for your
next audition.
Guys and Dolls - Synopsis and Character Descriptions
Characters
Set in 1950s New York, ‘Guys & Dolls’ follows a host of Damon Runyon’s colorful and sometimes eccentric
characters in a humorous and touching story based around the bright lights and shady corners of Times Square: it
is “a musical fable of Broadway”. The characters are vividly drawn, sometimes wise, often funny, with their own
idiosyncratic ‘Runyan’ language and wise cracks. We are looking for realistic characters (not caricatures) though it
is true to say that the whole show is varnished with a gloss of light-hearted charm and well-meaning.
The Story
In the twilight world of gangsters and their molls, Nathan Detroit is losing his grip
on the institution of the floating ‘crap game’ (the dice gambling scheme he runs
that switches venue to avoid detection by the local police) and desperate to find the
money to pay for the only location he can currently get his hands on. To seal the
deal and quell the tempers of the gangsters who are gathering in town and keen to
‘shoot crap’ he bets his buddy, Sky Masterson, a thousand dollars that Sky will not
be able to take a local Salvation Army girl, Sarah Brown, on a date to Havana.
Meanwhile Nathan, engaged for fourteen years to cabaret artist Miss Adelaide, is
struggling to keep her demands for marriage at bay, whilst she continues to battle
with the symptoms of an incessant psychosomatic cold that plagues her all the time
she is waiting to go down the aisle.
Sarah isn’t taken in by Sky’s obvious charm and brushes off his advances until it becomes clear that her struggling
Salvation Army mission will be closed down by General Cartwright if it doesn’t prove itself to be more successful
in attracting the local population of ‘sinners’. Since Sky has promised her that one dozen of his comrades will
show up at a forthcoming prayer meeting, she is convinced to travel with him to Cuba where, under the influence
of alcohol, her defenses slip and they realize they are falling in love with each other. On returning to New York,
Sarah discovers that, unbeknown to Sky, Nathan and his buddies have been using the empty mission as a site for
the crap game. Sarah feels duped and Adelaide is furious that Nathan can’t give their relationship priority over his
gambling habits.
At a crap game held in the sewers of New York, Sky bets all the members of the floating crap game that if he wins
his roll of the dice, they will have to go join him at the mission to repent their sins. After winning his bet, and after
Sarah & Adelaide plot to reform their respective lovers after marriage, the mission is saved by a successful prayer
meeting led by Nicely’s gospel-like confession and the couples tie the knot in a joyous double wedding.
Guys and Dolls Musical numbers
Act I
“Runyonland” – Ensemble
“Fugue For Tinhorns” – Nicely-Nicely, Benny &
Rusty Charlie
“Follow the Fold” – Sarah, Arvide & Mission Band
“The Oldest Established” – Nathan, Nicely-Nicely,
Benny & Ensemble
“I’ll Know” – Sarah and Sky
“A Bushel and A Peck” - Adelaide and the Hot Box
Dancers
“Guys and Dolls” – Nicely - Nicely & Benny
“Havana” – Sky, Sarah, Ensemble
“If I Were a Bell” – Sarah
“My Time of Day” – Sky
“I’ve Never Been In Love Before” – Sky & Sarah
Act II
“Take Back Your Mink” – Adelaide & Hot Box
Dancers
“Adalaide’s Lament” – Adelaide
“More I Can Not Wish You” - Arvide
“The Crap Game Dance” – Crap Shooters
“Luck Be a Lady” – Sky & Crap Shooters
“Sue Me” - Nathan & Adelaide
“Sit Down You’re Rocking the Boat” – NicelyNicely & Ensemble
“Follow the Fold” – Mission Meeting Group
“Marry the Man Today” – Sarah & Adelaide
“Guys and Dolls” - Ensemble
DANCE NUMBERS Dancing plays a large part in any musical. If you are cast, you will likely be learning to dance or receiving
copious amounts of blocking in many of these numbers. “Take Back Your Mink”, “A Bushel and A Peck”, “The Crap Game
Dance”, “Havana”, and “Guys and Dolls.”
Characters:
Age ranges: The playing ages are a rough guide. When casting roles the panel need to consider the relative ages of
performers cast in those roles that require the audience to believe in particular relationships e.g. romantic partnerships,
couples, family relationships and work roles. Therefore, your suitability for casting might depend on the ‘playing age’ of
the person you are being cast opposite.
Sky Masterson: Male. Baritone B to Eb. Playing age 26 – 38. Lead role
Charismatic, cool and charming. Sky is a suave, intelligent and confident gangster who naturally commands others’ respect
and attention. Handsome, with buckets of stage presence and sex appeal, he is familiar with attracting the attention of the
ladies but finds himself falling in love with the one woman who brushes off his advances. He surprises himself by discarding
his spontaneous, freewheeling lifestyle for a conventional romance. Some dance/movement ability would be useful
(though not essential) for the crap shooting sequence.
Sarah Brown: Female. Soprano to High A. Playing age 18 – 35. Lead role.
Conventional, respectable and principled, Sarah is initially a little too buttoned-up for her own good. She has genuine passion
for her calling and compassion for her ‘fold’ but gives Sky an initial frosty response. The actress playing this role has to play
convincingly drunk, when under the influence of alcohol she allows her straight-laced persona to slip and falls exuberantly
and madly in love. She goes on a journey of reconciling her feelings with her beliefs, and changing some of her prejudices so
that her head can follow her heart.
Nathan Detroit: Male. Baritone to High F. Playing age 35 – 50. Lead role.
Organizer of the floating crap game. With a tendency towards neuroticism Nathan is a lovable rogue who is always
struggling to stay one step ahead of the pack and looking for the big break he never seems to get. Funny, frustrated but
romantic his heart is torn between the camaraderie of his gambling circle and the woman he loves.
Adelaide: Female. Mezzo to A. Playing age 30s to 40s. Lead role
Lead performer at the ‘Hot Box’ a somewhat tacky and dodgy cabaret joint. Strong comic actress required with dancing
ability. She spends the whole show with the symptoms of a cold, acting through sneezes and congestion. She adores Nathan
but is driven crazy by his antics with the gambling ring and having been engaged to him for 15 years.
Nicely-Nicely Johnson: Male. Tenor to high B flat. Playing age 30 to 50. Supporting role
Best pal to Nathan Detroit. With a voracious appetite and boundless enthusiasm, Nicely is ‘nice’ by nature and name. Comic,
cheerful and likeable he delivers hilarious one-liners and a big, Broadway showstopper (‘Sit Down You’re Rockin’ the
Boat’) with equal aplomb.
Benny Southstreet: Male. Baritone. 25 – 55 supporting role.
Nicley’s pal with whom he sings the duet ‘Guys & Dolls’ and trio ‘Fugue for Tinhorns’. Upbeat, sometimes nervy, he is
more of a novice in the gangster business and further down the pecking order. Characterful
Harry the Horse: Male. Supporting role.
Another gangster. Has come into money by collecting the reward on his father. Sidekick and mouthpiece to Big Jule, so,
though a pleasant rogue, is more on the ball and can be a cool customer who is able to stand his ground when necessary.
Sings with ensemble but not alone.
Big Jule: Male. Speaking role. Playing age 35+. Supporting role.
Powerful, intimidating, high status gangster from out of town, whose reputation precedes him. A man of few words but much
clout. There is comedy in his straight-talking bluntness. Usually played by an actor of large height and stature to match his
name, but can be played a diminutive actor as an ironic and comic gesture. Enters the story part way through the first act.
Arvide Abernathy: Male. Baritone 60 – 90 supporting role.
Sarah’s grandfather and significant member of the Salvation Army mission. Wise, warm and caring.
Minor roles
Rusty Charlie: Male. Baritone 20s and above. Cameo
Sings the trio ‘Fugue for Tinhorns’ with Nicely & Benny.
Lt. Brannigan: Male. Non-singing role. Playing age 35+. Minor Role
Member of the local police force, wise to the gangsters’ exploits and trying to keep them in order. Commands respect from
Nathan and the guys.
General Matilda B. Cartwright: Female mezzo 40 – 65 cameo
Regional representative of the Salvation Army. Powerful, matronly, no-nonsense with a formidable presence and, it
transpires, a sense of humor.
Hot Box Girls: female 16 – 35 chorus
We are looking for 8 females to make up this chorus of performers who back-up Adelaide in her nightclub act. Strong
dancing, singing and character performance required. They perform 2 numbers with Adelaide. They will double into other
aspects of the female ensemble.
Male & female dancers: Featured male and female dancers will be required for the Havana Sequence and male dancers for
the Crapshooters Dance. They will all double into the ensemble. Female dancers may be asked to dress and act like men in
some numbers.
Ensemble: The ensemble make up the characters of Times Square, gangsters and their molls, Salvation Army personnel and
other cameos. We are looking for strong performers who can create individual, well-drawn characters. Other very minor roles
(including Joey Biltmore, Agatha, Angie the Ox, Liver Lips Louie, Waiter etc.) will be allocated at the discretion of the
auditioning panel or at a later date by the director.
Callback Information
Callbacks are Thursday immediately after school in the Forum Theatre. The callback list will be posted
Thursday morning. Below are the possible songs and scenes that you may be asked to perform:
Callback Songs: (If not included in packet it will be taught at callbacks)
Adelaide – “Adelaide’s Lament”
Sarah – “I’ll Know” and “If I Were A Bell”
Sky – “I’ll Know”
Nathan – “Sue Me”
Nicely – “Sit Down You’re Rocking the Boat”
Arvide – “More I Can Not Wish You”
Benny & Rusty – “Fugue For Tinhorns”
Callback scenes: They will come from the scenes attached.
Audition Form: Guys and Dolls
Name: ____________________________________
Home Phone: _____________________
Address: ___________________________________
Cell#: ___________________________
Student Email address: _____________________________ GRADE_____________________
Guardian(s) Name: ________________________________Guardian(s) cell ____________________________
Guardian(s) email: ___________________________________________________________
Please list the three most recent acting (or theatre in general) experiences here and/or attach a resume:
1) Character(s): ________________________Show: ____________________________________
2) Character(s): ________________________Show: ____________________________________
3) Character(s): ________________________Show: ____________________________________
Please list any Acting/Performance/Dance workshops/classes/Private Training you have had:
If cast, are you willing to change your appearance: [ ] Yes [ ] No
Are you able to do accents?: [ ] Yes [ ] No If yes, please list which ones: _______________________________
Do you play an instrument? Which one(s):________________________________________________________
Any other special skills: ______________________________________________________________________
Please check ONE of the following:
(Please be honest. The director needs to properly understand what you are auditioning for.)
____ I will accept any role.
____ I prefer the role of __________________________________________________, but I will accept any role.
____ I will accept only the role of __________________________________________.
ELIGIBILITY QUESTIONS:
How many detention hours do you owe?___________ Attendance hours?__________
How many failing classes this semester? __________How many last semester? _________
IF YOU ARE NOT CAST, ARE YOU INTERESTED IN WORKING ON THE SHOW?
(Please be honest.) [ ] Yes [ ] No
All cast will be placed on a crew. Which areas would you be most interested in helping with?
[ ] SET [ ] PROPS [ ] COSTUMES [ ] LIGHTS [ ] SOUND [ ] PUBLICITY [ ] HAIR/MAKEUP
What technical experience do you have in the above areas?
_______________________________________________________________________________________
_______________________________________________________________________________________
Name: ___________________________________
Rehearsals and Conflicts
Rehearsals are M-F 3:00pm-5:30pm. *See rehearsal schedule for specifics. If cast in the show you must attend the CAST/CREW
MEETING August 22nd at 3pm. If cast, your parents must attend a parent meeting on August 26th at 6:30pm. Technical Crew
duties are required of cast as well on Saturday work calls unless prior arrangements have been made with the director. Write any known
or suspected conflicts with this rehearsal/technical schedule on the attached calendar. *Explain how you might rearrange your
schedule to attend rehearsals/workcalls. *Unless conflicts are listed on this sheet, all actors & crew are required to be present at
scheduled times.
Please fill in ALL scheduling conflicts (The X’s = days without rehearsals scheduled):
August 2014
24
xxxxxxxxxx
25
26
27
Parent Meeting
6:30
28
29
30
All cast &
xxxxxxxxxxx
Crew meeting
September 2014
Aug.31
1
2
xxxxxxxxxxx xxxxxxxxxxxx
3
4
5
6
xxxxxxxxx
7
xxxxxxxxxx
9
10
11
12
13
xxxxxxxxxx
14
15
xxxxxxxxxxx
16
17
18
19
20
21
xxxxxxxxxx
23
24
25
26
27
xxxxxxxxxxxx
8
22
October/November 2014
Sept.28
Sept.29
xxxxxxxxxxx
Sept.30
1
2
3
4
5
6
xxxxxxxxxxx
7
8
9
10
11
12
xxxxxxxxxx
13
14
15
16
17
18
19
xxxxxxxxxx
20
21
22
23
24
25
26
27
xxxxxxxxxxx
28
29
30
31
Nov.1
Nov. 2
Xxx
Nov. 4
Nov. 5
Nov. 6
Nov. 7
Nov. 8
Nov. 3
Nov. 9
***Please note: You must be available for all performances to be considered for casting.**