Audition Dates:

June 29 & 30  7 p.m.

<----------- Click the show logo for Casting Requirements


Click HERE to sign up for auditions.  [It's a spreadsheet so don't mess it up, but be sure to save it after you enter your slot.)

If you would like to attend the pre-audition workshops we have a few more time slots and they need to email us or message our Facebook page.

Audition Dates:

May 25, 2020, 7 p.m.
May 26, 2020, 7 p.m.

<----------- Click the show logo for Casting Requirements


West Side Story Auditions Q & A
Q: Where can I sign up to audition?
A: Sign up at calendly.com/westsidestory/audition.

Q: Where can I find the audition materials?
A: All choreography, scene and song assignments, as well as character descriptions and tip & tricks are posted in the West Side Story Online Audition Workshop event page: https://www.facebook.com/events/211148753330679/.

Q: Do the scenes and songs need to be memorized?
A: It would be nice, but not necessary.

Q: What will the audition look like?
A: Each person will sign up for and attend only one audition time slot. The audition will be conducted via Zoom meeting. Join the meeting several minutes before your scheduled time. You will remain in the waiting room until the host lets you in. Once the audition begins, you will be asked to introduce yourself, read the selected scene, perform the song selection a cappella, and dance the assigned choreography. The entire audition should last about six minutes.

Q: Where is the best place to do my Zoom audition?
A: The ideal place has good lighting and acoustics, plenty of space, with no distractions and a strong internet signal. Outdoors is fine as long as you can avoid background noises and visual distractions.

Q: Will I need to attend both days of auditions?
A: No, you only need to attend one audition time slot.

Q: When are callbacks and how will they work?
A: If callbacks are needed, they will be held Thursday evening, May 28. We are hoping to have in-person callbacks; location to be determined. Your safety is our first priority. We will communicate with each individual needed directly. Remember, not getting called back does not necessarily mean you were not cast. The purpose of callbacks is to help us answer any questions we still have.

Q: What if I want to audition for more than one role?
A: Sign up for only one audition time slot. See the audition materials on the workshop event page. Prepare for the roles you want and are willing to accept. If you audition for Anita, you do not need to learn the other Shark Girls choreography.

Q: How many roles will be cast?
A: 35–40

Q: What is the age range of the cast? How old is Tony? Maria? Anita? Bernardo? Etc.
A: In general, gang members need to look like they are in the 14–24 age range. Principals will be in their late teens or early twenties. Adult roles are 40+.

Q: I’m a female, but I want to play a male role. Will that be allowed?
A: All are welcome to audition for any role. We will cast those that we believe to be best for the show as a whole.

Q: What role will ethnicity play in the casting process?
A: From the script: “The Sharks are Puerto Ricans, the Jets an anthology of what is called ‘American.’” The look of the Sharks will reflect Puerto Rican heritage, while the Jets will consist of a variety of backgrounds. We welcome actors of all ethnicities, and we will not make any decisions purely on skin color. But as we consider casting choices, we will do our best to serve the story. We hope you will join us in this effort.

Q: Should I read with an accent?
A: If you think it will help your audition you are welcome to, but it’s not necessary.

Q: Can we do more than one section of choreography for auditions?
A: Yes, see “What if I want to audition for more than one role?”

Q: Do I need to count out loud all the way through my choreography audition?
A: No, just count yourself in at the beginning.

Q: Should women wear a skirt during auditions?
A: Yes, wear a skirt if possible, with leggings or shorts please.

Q: What about singers that don't dance and dancers that don't sing? Can they audition?
A: In short, Yes! All are welcome to audition. The longer answer is, the only roles that will not dance or sing are the four adult roles. All gang members, including Tony and Maria, are expected to dance and sing in the show.

Q: Do I need to play a music track during my choreography or singing audition?
A: No track needed for either the choreography or singing audition. Perform the choreography by count and sing the song selection a cappella.

Q: Which soundtrack do you guys prefer?
A: When in doubt, go with the original Broadway cast recording, but be sure to check the instructions for each song selection for exceptions (posted on the workshop page).

Q: Will the audition include a test of vocal range?
A: No, we will get what we need from the song selection.

Q: What will the adult role audition require?
A: See the materials on the workshop event page. Adult roles will not include songs or choreography. Glad Hand can be male or female.

See below for Two Forms that are required.

Auditions: Sept. 14 & 15 - specifics TBA

"The funniest show to make you cry."Set in a small town in Louisiana ‐‐ in the time of really big hair ‐‐ six women gather in Truvy's beauty shop for gossip, friendship, and support. These women are true steel magnolias: southern belles who are flowery on the outside, but tough as steel inside. The play is alternately hilarious and touching as it moves from the excitement of Shelby’s wedding to sadness as friends mourn her loss. The dialogue is sharp and funny and all six roles are interesting and challenging.

Character Breakdown:

Truvy Jones – to play 35 ‐45 ‐ Owns the beauty shop. Vivacious. Dispenses advice with lots of hairspray.

Annelle Dupup‐Desoto ‐ to play 18 ‐ 24 ‐ Newly hired assistant. Moves from unsure to wild to religious.

Clairee Belcher ‐ to play 55 to late 60’s ‐ Widow of former mayor. Grand dame. Elegant, sophisticated, a true beauty.

Shelby Eatenton‐Latcherie – to play 19 ‐ Prettiest girl in town. Loves pink. Strong willed, passionate.

M'Lynn Eatenton ‐ to play 40 to 50’s ‐ Shelby's mother. Always knows what’s best, strong, stubborn, the heart of the piece.

Ouiser (pronounced Weezer) Boudreaux ‐ to play55 to late 60’s ‐ Wealthy curmudgeon. Tough, Eccentric character.

Auditions: Oct 5 & 6 - Specifics TBA

Casting

Cast Size: Medium (11 to 20 performers)
Cast Type: Children

Dance Requirements: Standard
Character Breakdown

Buddy
Born a human but raised at the North Pole as a Christmas Elf, Buddy is eager to find his place in the world. He is a child at heart and that child-like curiosity makes him both endearing and gets him into trouble.
Gender: male
Age: 25 to 35
Vocal range top: C5
Vocal range bottom: Ab2

Jovie
Buddy's girlfriend. She works at Macy's and has a bit of a cynical outlook on life and love because of the men she's dated. She is caught off guard by Buddy's genuinely big heart.
Gender: female
Age: 25 to 30
Vocal range top: D5
Vocal range bottom: G3

Walter
Buddy's workaholic father. He is a Children's book writer, but lacks any of the childlike spirit that Buddy has. He is selfish, tense, and generally angry with life.
Gender: male
Age: 55 to 65
Vocal range top: G4
Vocal range bottom: A2

Emily
Walter's wife. Though she is sweet and willing to take him in, she thinks Buddy is crazy at first. Wishes her husband would spend more time with the family.
Gender: female
Age: 40 to 50
Vocal range top: Eb5
Vocal range bottom: F3

Michael
Buddy's stepbrother who is excited to have a new friend and brother. Unlike his mother, he doesn't take much convincing to have Christmas spirit, but like his mother, he wishes his father would spend more time with the family.
Gender: male
Age: 12 to 16
Vocal range top: G5
Vocal range bottom: F3

Deb
Walter's secretary. Takes an instant liking to Buddy simply for the novelty of it. Though she aims to please and is a bit of a suck-up, she feels under appreciated.
Gender: female
Age: 25 to 55
Vocal range top: Eb5
Vocal range bottom: D4

Manager
A heavy-set manager at Macy's. He is a good, friendly guy just trying to do his job and get by.
Gender: male
Age: 35 to 40
Vocal range top: F#4
Vocal range bottom: B2

Greenway
Walter's boss. He is what Walter will become if he continues down the path he is on. A tyrannical, workaholic who cares nothing about the people around him or who work for him.
Gender: male
Age: 55 to 65

Santa
Just another workingman. Loves his job and Christmas, but also likes to kick-back and watch the game when a rare opportunity arises. A natural storyteller.
Gender: male
Age: 65 to 80
Vocal range top: E4
Vocal range bottom: A2
Chadwick
One of Walter's right-hand men. He is desperate to keep his job, and perhaps the dumber of the two.
Gender: male
Age: 40 to 50

Matthews
One of Walter's right-hand men. He is desperate to keep his job and is the schemer of the two.
Gender: male
Age: 35 to 40
Ensemble

Mrs. Claus, Elves, Charlie, Tiara, Mr. Narwhal, Teenager, Employees, Security Guard 1&2, Customer 1&2, Saleswoman, Store Elf 1&2, Fake Santa 1&2&3, Boy, Mother, Policeman 1&2, Sarah, Jim, Vendor, Waitress, Charlotte, Man, Woman

Nov 9 & 10 - Specifics TBA


Morrie Schwartz - Male, 65 - 75. A former Brandeis professor, Morrie is a charming, fiercely intelligent man suffering from ALS. He wears his heart on his sleeve, has a passion for dance, and has embraced the difficulties life handed him with gusto. He is a benevolent person who lives his life opening, without prejudice. He relies on gallows humor to deal with his illness and has a sharp view of how people and the world works.


Mitch Albom - Male, 32 - 40. A sportswriter in his mid-thirties, Mitch is a likeable but aggressive man who has let fear and apprehension guide most of his adult life. Finding himself without work due to a writer's strike, he realizes that idleness isn't good for a man who is used to getting what he needs when he needs it. Although deep down, Mitch is a good person with an altruistic nature, he has been distant and cool throughout a good portion of his adult life. Change is something he yearns for. (Piano playing not required, but helpful.)

Auditions:  Nov 23 & 24 - Specifics TBA


To Kill A Mockingbird Character Descriptions

SCOUT: A young girl about to experience the events that will shape the rest of her life, she should, ideally, seem as young as nine. Scout is courageous and forthright. If a question occurs to her, she’ll ask it. Age is approximately 10-12.

JEM: He is a few years older than his sister Scout, and like his sister – perhaps even more than his sister – he’s reaching out to understand their unusual and thus not conventionally-admirable father. Probably the strongest undercurrent in Jem is his desire to communicate with his father.  Age is approximately 10-14.

ATTICUS: He’s tall, quietly impressive, reserved, civilized and nearly fifty. He wears glasses and because of the poor sight in his left eye, looks with his right eye when he wants to see something well. It’s typical of Atticus that when he found out he was an extraordinary shot with a rifle, he gave up shooting – because he considered it gave him an unfair advantage over the animals. He’s quietly courageous and without heroics, he does what he considers just. As someone comments about him – “we trust him to do right.” Age is approximately late 30’s-mid 50’s.

CALPURNIA: Black, proud and capable, she has raised the motherless Scout and Jem. She’s a self-educated woman and she’s made quite a good job of it. Her standards are high and her discipline as applied to Scout and Jem is uncompromising. Age is approximately 30-60

DILL: Small, blond and wise beyond his years, he is about the same age as Jem. Dill is neater and better dressed than his friends. There’s an undercurrent of sophistication to him, but his laugh is sudden and happy. Obviously there is a lack in Dill’s own home life, and he senses something in Atticus that’s missing from his own family relationship. Age is approximately 10-13.

MAUDIE ATKINSON: Younger than Atticus, but of his generation, she’s a lovely sensitive woman. Though belonging to the time and place of this play, she has a wisdom and compassion that suggests the best instincts of the South of that period. Age is approximately 40-45.

WALTER CUMMINGHAM: Cunningham is a hard-up farmer who shares the prejudices of this time and place but who is nevertheless a man who can be reached as a human being. He also has seeds of leadership, for when his attitude is changed during the confrontations with Atticus, he takes the others with him. Age is approximately 40-50.

REVEREND SYKES: Rev. Sykes is the black minister of the Flint Purchase Church, called that because it was paid for with the first money earned by the freed slaves. He’s an imposing man with a strong stage presence. He should have a strong “minister’s” voice. Age is approximately 50-60.

HECK TATE: Heck is the town sheriff and a complex man. He does his duty as he sees it, and enforces the law without favor. The key to this man’s actual feelings is revealed in his final speeches to Atticus, and this attitude should be an undercurrent to his earlier actions. Age is approximately 40-50.
To Kill A Mockingbird Character Descriptions (continued)

STEPHANIE CRAWFORD: She’s a neighborhood gossip, and she enjoys it to the hilt. There’s an enthusiasm in her talking over the people of her town that makes it almost humorous. Sometimes she says things that are petty, but partly it’s because she simply can’t keep herself from stirring things up. Age is approximately 60-70.

BOO RADLEY: Arthur Radley is a pale recluse who hasn’t been outside his house in fifteen years. It takes an extraordinary emergency to bring him out, and once out he’s uncertain about how to deal with people, and with his mission accomplished, he’s eager to return to his sanctuary. Age is approximately 40-45.

MRS. DUBOSE: She is an old woman – ill, walking with difficulty, her pain making her biting, bitter, and angry. However, she’s fighting a secret battle within herself, a battle about which few people are aware, and her existence has in it a point of importance for Jem and Scout . Age is approximately 70-80.

TOM ROBINSON: Robinson is black, handsome and vital, but with a left hand crippled by a childhood accident and held against his chest. He’s married to Helen and they have young children. He faces up to a false charge with quiet dignity. There’s an undercurrent in him of kindness, sensitivity and consideration. Age is approximately 25-35.

JUDGE TAYLOR: The judge is a wintry man of the South, who does what he can within the context of his time to see justice done in his court. While he tries to run his court impartially, his sympathy is with Tom. Age is approximately 60-70.

MR. GILMER: He is a public prosecutor who is doing his job in trying to convict Tom. In many ways his manner is cruel and hurtful. And yet under all this, he too has unexpressed doubts as to Tom’s guilt, and his heart isn’t really in this conviction. Still – he goes after it, and it’s a hard thing. Age is approximately 30-50.

BOB EWELL:  Ewell is a little bantam-cock of a man who lives with his large family by the town dump. As Harper Lee describes their situation – “The town gave them Christmas baskets, welfare money, and the back of their hand.” Bob thinks this trial will make him an important man, and when Atticus destroys his credibility, Bob’s rage and frustration border on paranoia. Age is approximately 40-50.

MAYBELLA: The oldest daughter of Bob Ewell, she’s a desperately lonely and overworked young woman whose need for companionship – any companionship – has overwhelmed every other emotion. However, when her effort to reach out explodes in her face, she fights just as desperately for what she thinks is survival. Age is approximately 18-22.

EXTRAS: Townspeople, Farmers, Rev. Sykes congregation, Mob and Spectators: Various ages and either male or female.


Auditions: Dec 14 & 15 - Specifics TBA

Auditions: Jan 25 & 26 - Specifics TBA

Click the link below for character lists.


http://www.enotes.com/topics/crimes-heart/characters#characters-characters-discussed



Auditions: Feb 15 & 16 - Specifics TBA


Cast size: 11 or 12 actors, flexible (many of the roles can be played by men or women).

Auditions: Mar 15 & 16 - Specifics TBA


I Take This Man — Cast List

GIDEON - a lovely young Bostonian lady.
BRET - a handsome young Bostonian man.
CHARLENE - a young and beautiful nurse.
DEX - Charlene's good-looking fiance.
JUD - a pleasantly helpful policeman.



Preparing for the Audition

  • The days activities should be appropriately scheduled on the day of your audition. Be well rested and fed.
  • Pre-read the play or songs for which the audition is being held if possible. Some publishers allow you to order a script. Find the publishers name listed with the play name above.
  • Rehearse your song or monologue for the audition.
  • Be aware of your needs for script, music and musical accompaniment in singing auditions.
  • Dress appropriately for dance auditions: comfortable clothing and proper dance shoes.
  • Call backs are sometimes held after auditions for the director to check voice, look, interaction or other factors that will help in casting. Callbacks do not mean that you are going to get a part and not getting called back does not mean you are not going to get the part. It is just an opportunity for the director to check something that might not have been apparent the first time around or to check dynamics of a group or pairing.

Two forms are required before you can audition, the Audition Information Sheet and the Media Release Form.  Blank forms will be available at the Theatre, or, if you click HERE, you can print out blank forms, fill them in and bring them with you to the audition.  NOTE:  This is a 'fill-in' PDF form.  Some browsers let you fill in the form fields on the form from the browser.  Or, you can download the PDF and use a PDF reader (like Adobe Reader DC) to fill out the form on your computer and print out a nice, legible form to bring with you.

If you are cast, please fill out a medical release FORM CLICK HERE
(please print and Bring with you. it is mandatory)



Theater Terms

Audition. A formally arranged session for an actor to display his or her talents when seeking a role in an upcoming production of a play, film or television project, usually to a casting director, director or producers.

Blocking. In rehearsals, actors practice the required movements, in a pattern or along a path, for a given scene that allows them to avoid any awkward positions, such as one actor walking in front of another actor or standing with his or her back to the audience.

Callback. A second audition where an actor is either presented to the producer and director or, in the case of commercials, is filmed on tape again for final consideration.

Call Time. The time you are supposed to report to the set.

Cold Reading. Delivering a speech or acting a scene at an audition without having read it beforehand.

Diaphragm. The lower part of the lungs, filling the abdominal space, that supports the voice when actors and singers breathe correctly on stage.

Downstage. The area of the stage closest to the audience.

Greenroom. Where actors wait to go onstage. Not necessarily green.

Hot Sheet. A notice that comes out once a week with up to date information for actors.



Monologue. A speech used by an actor to demonstrate his or her ability at an audition.

Notes. Instructions, usually regarding changes in an actor’s blocking or performance, given after a rehearsal by the director, musical director, choreographer or stage manager.

Off-book. When an actor knows his or her lines and no longer needs to carry the script.

Props. Any moveable object, from a letter to a sword, used by an actor during a performance.

Read-through. When the director and the actors sit around a table and read through the entire script to get familiar with the story, their roles, and their fellow actors.

Stage Left. The side of the stage that is to the actor’s left as he or she faces the audience.

Stage Right. The side of the stage that is to the actor’s right as he or she faces the audience.

Strike. To remove something from a set, or tear it down.

Understudy. An actor, often playing a small role, who learns another role, so as to be able to perform it if the regular actor is ill.

Upstage. The rear area of the stage farthest from the audience; also used to describe an actor’s attempt to distract audience attention from what another actor is doing.

Tyler Civic Theatre is a community theatre, which means that the actors who perform on our stage are everyday people who have a talent and interest in the theatre. Everyone from the novice to the most seasoned actor is welcome to audition for our productions. From musicals to comedies, dramas, and children's productions, there is something for everyone. We look forward to seeing you at an upcoming audition!