The Elves And The Shoemaker AUDITION
Main Cast Audition: Sunday 14th September - 11am
Dance/Chorus Audition: Sunday 21st September - 11am
Performance dates: Friday 12th - Saturday 20th December 2014
Written & Directed by PAUL CARR
Main Cast Auditions
Auditions will take place in two stages – main cast auditions will be held on Sunday 14th September from 11am onwards. These will take the form of audition readings from an excerpt of script, reading against the production team and/or other auditionees. Please take note of the age ranges of the characters and their genders! You do not necessarily have to fall within the playing ages (for example a 17 year old could pass as 18) but if you do not look as if you might be within those ranges then you are not going to get the part!
Some of the characters below are identified as requiring a singing audition – these parts have got musical numbers in the show and can only be given to people who we know can carry a solo musical number. The characters marked as ‘Not essential’ may have musical numbers in the show depending on who has been cast, but could get away without if someone auditions who is not a great singer but has all the other qualities we are looking for. Anyone auditioning for one of these ‘Not essential’ roles may have a singing audition if they would like their character to be included in musical numbers.
People having singing auditions should bring a song of their choice with a backing track to sing to. Please do NOT bring an original artist track with vocals as we want to hear YOU and not them! If you do not have any backing tracks then you can find them at www.karaoke-version.co.uk or www.ameritz.co.uk amongst other sites such as amazon or iTunes. You should bring the backing track in MP3 format on a CD or USB drive, or loaded on an MP3 player (that has been charged!)
The chorus is in essence a dance chorus, though the junior chorus also need to be good actors as they play the remainder of the Elves alongside Flip and Flop. Auditions for the chorus will be a week later on Sunday 21st September from 11am. These will consist of dance auditions choreographed on the day, and small reading auditions in pairs for anyone auditioning for junior chorus. Singing auditions are not necessary for the chorus roles, but if you would like to prepare a singing audition for us then you are welcome to do so and this may influence our decision in the event of a large number of auditionees. Anyone aged 16 or under must be accompanied by an adult who is able to stay for the duration of the audition, which will potentially last for a number of hours.
GOLDEN RULES FOR AUDITIONS!
- DO read the character descriptions and be realistic about if you are right for the part to avoid disappointment!
- DON’T do a half-hearted audition or just read the part – we want to see characters who are interesting and engaging, and the sort of characters we would want to spend 3 hours watching!
- DO make sure you have learnt your song if you are doing a singing audition
- DON’T be nervous – you’re only acting to two or three people and if you make a mistake it doesn’t matter – we’re looking to see if you could play these roles after a few months rehearsals and not that night!
- DO use your reading time before the audition to plan how you are going to deliver the lines and read it out loud with other people going for roles
- DON’T assume that you have it ‘in the bag’ and so don’t bother putting much into your audition – we want to see your performance
- DO choose a song that shows off your vocal range and lets you really sell the song – if you can sing high or low, have a good belt or a great pop voice then pick a song that lets us know about it!
- DON’T just stand there – move around the stage and use your body language and gestures to sell your performance
- DO have a go! If you fancy trying out then don’t assume that everyone will be better than you – it might be that you are just the person we are looking for!
We hope that we see you there (oh yes we do!)
FAIRY CONVERSE (F) The good fairy and Prada’s (probably younger) sister – lots of audience interaction and a good scope for playing in a variety of different styles from smart and streetwise, traditional ‘good fairy’, or a bit bumbling or clumsy to suit the character of the actress. AGE 18+ Singing Audition? Not essential (but highly preferred!)
RALPH (M/F) The lead male character in the show – but could either be a male or a female playing as a principal boy. The young shoemaker who has become a victim of his own success and struggling to keep up with his rent. Has a secret crush on Anna. AGE 18-35 Singing Audition? Yes
BARON (M) Ralph’s landlord – not inherently evil but driven by money and will ruthlessly kick Ralph out onto the street if he is unable to pay up. AGE 25+ Singing Audition? No
ANNA (F) Ralph’s assistant in the shop and leading female role. Very loyal to Ralph and insists that he keep going against the odds. Needs to be convincingly similar age to both the Prince and Ralph. Preferably a trained (or very competent) dancer who can dance a number of different styles to a reasonably high standard, and a good singing voice preferred. AGE 18-35 Singing Audition? Yes
DAME GUCCI (M) A typical pantomime dame – she is the Old Woman who lives in a show and has so many children (the Elves) that she doesn’t know what to do. Lots of comedy business and needs a good on stage presence. Singing required but need not be terrifically in-tune if necessary! AGE 45+ Singing Audition? Yes
FLIP AND FLOP (M/F) Comedy duo – the eldest of the Elves and carry the majority of the comical and slapstick elements of the show. Must work well together and be able to ‘bounce’ off each other with good audience interaction and over-the-top characterisation. AGE 20-40 Singing Audition? Not essential
PRADA (F) The evil witch who has been stripped of her powers and is out for revenge. Fairy Converse’s (probably older) sister. AGE 25+ Singing Audition? Yes
PRINCE BRANTANO (M) Traditional pantomime prince. Well spoken, slightly conceited and falls for Anna – therefore needs to be convincingly similar age to both Anna and Ralph. AGE 18-35 Singing Audition? Not essential
PRINCE'S AIDE (M/F) Either a Chamberlain character or a Dandini best friend type (will be re-written – and named - to suit based on actor cast) Could be male or female. AGE Any. Singing Audition? No
THE ELVES (M/F) Junior chorus x 6 – a range of ages from 7 upwards. Good dance ability required as well as projection, stage presence and personality. Singing ability also highly preferred. Take part in a number of production numbers as well as small speaking parts during Elf scenes. AGE 7-18+ Singing Audition? No
TOWNSFOLK (M/F) Older chorus x 6 – need to pass as adults in the village and ballroom scenes. Essentially a dance chorus so a good ability across a range of styles of dance required. Singing ability ideal but not essential, though will be background vocalists in some musical numbers. AGE 14+ Singing Audition? No
‘Chatroom’ and ‘Disco Pigs’
By Enda Walsh
Directed by Robert Walsh; Produced by Mark Jones
Production Dates – Thursday 13th November to Saturday 15th November at Southlands High School
The audition will take place at Chorley Little Theatre on Sunday 29th June, starting at 2:00pm. The production itself will be performed at ‘Southlands High School, Chorley’ on the above dates. This is our first venture away from Chorley Little Theatre and therefore will be an exciting opportunity for the theatre to perform in the local community at Southlands.
Both plays are brilliantly written one act plays by Northern Irish playwright Enda Walsh (no relation). Stylistically they are completely different. ‘Chatroom’ is essentially six actors sat on chairs facing the audience for the majority of the play, with beautifully written dialogue that is both hilarious and disturbing. It tells the story of six insecure, troubled yet mostly innocent teenagers who let the mask of online discussion push a deeply damaged boy into potentially killing himself.
In contrast, ‘Disco Pigs' is a heavily stylised and obscure play which follows a dangerously intense relationship between two childhood best friends. It is dark, funny and highly emotional with unique and challenging dialogue.
What links the plays together, as well as the writer, is that they are both about troubled teenagers. Both plays are extremely unique and brilliant in their own way yet have a similar emotional core. They are highly intense and emotionally challenging that demand great young actors to get their teeth stuck into them!
Rehearsals will take place at Chorley Little Theatre in the bar/rehearsal room to mimic the size of the intimate performance space at Southlands. Initial character building workshops will take place twice a week in July, with potential filming for the ‘Chatroom’ cast to also take place at that time. No rehearsals in August (as the stupid director won’t be in the country) with full rehearsals starting in September till show time.
Please note that the characters in Chatroom are 15 and the characters in Disco Pigs are 17. However when I performed these plays the actors were aged from 15-22, so as long as you look around those ages come and audition!
Jim (M) – Jim is very much the emotional centre of the play. Abandoned and abused by his family and with no close emotional bonds to lean on, he is very open about his emotions online. A very demanding part which requires an actor with vast emotional depth.
William (M) – Extremely intelligent, manipulative and calculating, William is a twisted person who clear enjoys pushing and controlling the emotions of Jim. He is also very funny in a dark way. Again, this part needs a skilled actor with great comic timing and the ability to be hated yet not a villain.
Eva (F) – Eva is as manipulative as William but her intentions aren’t quite as calculating, she’s just a bit mental. A bizarre, disturbing yet hilarious part that demands an actress with a strong emotional range and great comic timing.
Laura (F) – Laura is initially a difficult character to read, a vacant and direct character who later in the play becomes an emotional rock for Jim. Needs an actress with strong emotional depth.
Emily (F) – initially, Emily comes across as ditsy and flat in comparison to the other characters. However she is troubled with anorexia and has some of the funniest dialogue in the play. A skilled comic actress with good emotional depth is needed.
Jack (M) – Jack is very much the middle man of the play. He is sarcastic and witty whilst also having clear moral standards and eventually attempts to take action against William and Eva. Needs a solid actor with good comic timing.
Pig (M) – Pig, real name Darren, is a deeply disturbing character. He has a clear love for runt that isn’t returned by Runt, which eventually drives him into a frustrated rage. A very demanding role that needs a highly talented actor with vast emotional depth.
Runt (F) – Runt, real name Sinéad, is a more level headed character than Pig but still a complex one. She is just starting to become more sexually aware of herself and slowly finds the intense nature of her friendship with pig too much. Needs a highly skilled actress.
No preparation is needed for the audition, just turn up and give it your best! For more information, contact Robert Walsh on the following
Mobile – 07969 164210
Audition - 3pm, Sunday 1st December
‘Breaking the Code’
By Hugh Whitemore
Directed by Mark Jones; Produced by Ian Ormonroyd
Production Dates - Monday 24 February - Saturday 1 March 2014
The play tells the story of Alan Turing, a brilliant mathematician, who devised the means of cracking the German Enigma code which helped win World War II. He also “broke the code” by being unapologetically homosexual at a time when homosexuality was illegal in Great Britain. He is now recognised as being one of the founding fathers of the digital age. The play tells the story of his life and his battle against the norm. The play switches between various years from 1929 to 1954.
The Rehearsals - Wednesdays (7.30-10pm), Fridays (7.30-10pm) and Sundays (12-4pm) – full rehearsal schedule will be issued once the play has been cast.
The production will be directed by CADOS’s Head of Artistic, Mark Jones. This will be Mark’s 9th production at Chorley Little Theatre, following on from ‘Blood Brothers’, ‘Oliver Twist’ and ‘The Hound of the Baskervilles’.
Please note the age ranges for the part are strict! There is no preparation required pre-audition – just turn up! Audition pieces will be handed out on the day.
Alan Turing (M): (age 35-55) – the key role, appears throughout the play – never leaving the stage. Plays Turing from 17 to 41; will require someone with exceptional acting ability and with the experience of having played large dramatic roles.
Ross (M): (age 25-40) – the detective sergeant who starts by investigating the burglary at Turing’s house and finishes by uncovering Turing’s homosexuality. Requires actor with experience of playing dramatic roles.
Morcom (M): (age 17-20) Turing’s childhood school friend. Appears in only one scene but has a key influence on Turing’s life. No previous acting experience required for this role.
Sara Turing (F): (age 35-50) – The fiercely loyal yet nagging mother of Alan Turing, who is the only one who refuses to believe his homosexuality or his alleged suicide. This part calls for someone to ‘age up’ playing Mrs Turing from 40ish to 70ish. Requires actress with experience of playing dramatic roles.
Ron (M): (age 20-30) – Turing’s lover, Ron is a young mancunian, on the make, plays a key role in telling the police of their relationship.
Dilly Knox (M): (age 55-70) – The Chief Cryptographer at Bletchley Park, Turing’s mentor. Dilly protects Alan, by advising him to be cautious about his behaviour and how it would be viewed by the government. Requires an actor with presence and gravitas.
Audition Notice – The Little Shop of Horrors
Lyrics by Howard Ashman, Music by Alan Menken
Directed by Paul Carr
Musical Director Wayne Oakes
Choreographer Hannah Liddle
Producers Ian Robinson & Andy Burke
Production Dates: Monday 23rd – Saturday 28th June, 7.30pm plus Saturday matinee
Auditions: Sunday 2nd March 11am at Chorley Little Theatre
In Skid Row, New York, a killer plant from outer space lands in a rundown flower shop and befriends shop worker Seymour. He names the plant after the girl he loves but soon “Audrey II” grows into an ill-tempered carnivore craving blood and Seymour finds he has to satisfy the plant’s evil urges.
From the writers of The Little Mermaid and Beauty & The Beast, this show is best-known for the 1986 film starring Rick Moranis. The stage version has more songs and a different ending.
The Production Team
Paul Carr directed studio musical I Love You, You’re Perfect, Now Change last year, which went on to receive NODA nominations for Best Staging of a Musical, Best Musical as well as winning Best Ensemble Musical Cast. This will be the first main season CADOS musical since 2009 and hopes to build on the success of I Love You… Paul has also overseen many of the Youth Theatre musicals of the last 15 years and wrote and directed the sell-out Santa The Panto in 2012
Wayne Oakes has been musical director for numerous shows across the North West and also runs his own piano school as well as being an established and highly in demand pit musician.
Hannah Liddle has worked on a number of CADOS productions including Snow White (2013), I Love You, You’re Perfect, Now Change (2013) and Santa the Panto (2012).
Ian Robinson is Chair of CADOS, directed the pantomimes Robin Hood (2011) and Snow White (2013), and produced Santa The Panto (2012). Andy Burke has been NODA-nominated for his performance of the Dame in CADOS pantos, and also overseen recent Youth Theatre productions.
Registration at 10.30am, start 11pm. Should finish no later than 4pm. They will incorporate elements of singing, acting and movement. The only real ‘dance’ in the piece is Seymour and Mushniks tango, but there will be choreographed movement elements in a number of the musical sections, especially for Seymour and the Ronnettes. There is no need to prepare a singing audition as you will be taught one of the numbers from the show and then asked to read scripted sections with other auditionees.
Rehearsals will commence in mid-March with a couple of read-through sessions, then mostly singing rehearsals early on to get the musical numbers secure. Into April we will start adding blocking and characterisation in the rehearsal space before moving everything into the performance space in May for the run up to the show in June. Rehearsals are likely to be on Monday, Wednesday and Friday evenings up to May, then potentially adding Sunday mornings as well.
The show does not have a ‘chorus’ as such – the Ronnettes are integral to the show throughout, and there are potentially two roles which play Winos, customers and a couple of extra characters (though this could double with Orin). The cast is therefore limited to a maximum of 10 plus puppeteers and all cast must be 17 or older at the time of performance in July. All cast must be strong singers but there is no requirement to read music. Puppeteers do not need to audition but will be required to attend rehearsals and learn Audrey IIs lines so they can sync with the voice.
Mid twenties and perhaps already balding a little! Our insecure, naive, put-upon, florist’s clerk hero. Above all, he’s a sweet and well-meaning little man. Needs to get the audience to sympathise with his situation despite continual acts of assisting the murderous plant to get it’s fill of blood! Strong singing range required – Low A to High G
The bleached-blonde, secret love of Seymour’s life. If you took Judy Holiday, Carol Channing, Marilyn Monroe and Goldie Hawn, removed their education and feelings of self-worth, dressed them in spiked heels and a low-cut black dress, and then shook them all up in a test tube to extract what's sweetest and most vulnerable-that'd be Audrey. We are not necessarily looking for a carbon copy of the Ellen Greene character of the film but someone that can bring their own interpretation to the role. Strong singing range required - Low A to High D
Their boss. A failure of an East Side florist. His accent, if he has one, is more that of middle class New York than of Eastern Europe. He seldom smiles but often sweats! Has a tango number with Seymour, and some singing required in range Low G to High E flat - as well as strong character acting.
A smooth, confident dentist with a black leather jacket and sadistic tendencies. He is NOT, however, a leftover from the movie version of GREASE. Think instead of an egotistical pretty-boy — all got up like a greaser but thinking like an insurance salesman and talking like a radio announcer. May also double for some character parts. Singing range - Low G to High E, though most of the song required could be ‘performed’ rather than sung if necessary.
THE PLANT (AUDREY II)
An anthropomorphic cross between a Venus flytrap and an avocado. It has a huge, nasty-looking pod which gains a shark-like aspect when open and snapping at food. The creature is played by a series of four increasingly large puppets, manipulated by one or two Puppeteers. The first time we see The Plant, it is less than one foot tall. The last time we see it, it fills the entire stage.
Puppeteers may also play some walk on parts in act 1, though would not be required to sing. They do however need to learn the dialogue and songs for Audrey II (provided by a separate vocal artist) so that their operation ties in with the vocal performance. The plant operation can be quite physically demanding as well as hot and claustrophobic at times so a good level of mobility and some stamina is essential!
VOICE OF THE PLANT
Provided by an actor on an offstage microphone, who as an unseen performer needs a good control of their vocal dynamic and using their voice to portray emotion and intent. The sound is a cross between Otis Redding, Barry White, and Wolfman Jack. Think of The Voice as that of a street-smart, funky, conniving villain — Rhythm and Blues’ answer to Richard the Third. Strong singing range required - Low G to High F.
CRYSTAL, RONNETTE AND CHIFFON
Three female street urchins who function as participants in the action and a Greek Chorus outside it. They’re young, hip, smart and the only people in the whole cast who REALLY know what’s going on. In their “Greek Chorus” capacity, they occasionally sing to the audience directly. And when they do, it's often with a "secret-smile" that says: "we know something you don't know." Would ideally suit singers who are used to singing in quite tight harmonies, but this is not essential and could be taught. Singing range - Low G to High F
Please note timings have changed from previous postings, and what's in some newspapers
SNOW WHITE (Pantomime) AUDITION
Audition: Sunday 15th September:
Dancers 10am - Noon
Actors Noon - 2pm
Director: Ian Robinson (CADOS Chairman, Director of “Robin Hood” Panto)
Assistant Director: Rebecca Dickinson (Choreographer on “Sleeping Beauty” “Robin Hood” “Santa Panto”)
Choreographers: Hannah Liddle & Libby Burke (Choreographers on CADOS shows, worked on YT shows)
Musical Director: Paul Carr (Musical Director for “Robin Hood”, Writer/Director of “Santa The Panto”
Dancers 10am – Noon
It is hoped junior dancers will be able to double up as Dwarves, so this includes acting auditions. Dwarves only appear in second half and only have one big dialogue scene. Minimum age 8 years old.
Actors – Noon – 2pm
Please note that all lead characters (apart from Dwarves) are for actors aged over 16. Decisions on sex of performers may depend on who auditions. Please bring a backing track for a song of your choice
Performances: 7.30pm - 13th - 21st December, (not Sunday 15th or Monday 16th)
2.30pm - 14th, 15th, 21st December
Traditional panto full of jokes and slapstick. Good comic timing is required and an ability to improvise (even if just in rehearsal) is helpful but not essential. Singing and dancing is needed for all main parts. Rehearsals will be Mon/Weds/Fri/Sun from end of October, with readthroughs/workshops on Mondays (and days tbc) through Sept/Oct. Dancing will be Tuesdays and days tbc
Snow White F Teenage girl, the heroine of our story. Strong-willed, she loves her father but is hated by her stepmother for being very lovely
Dame Flagella M The Dame! She runs the royal household
Hodgit M/F Oddjob person around the castle. Half of the slapstick comedy duo
Bodgit M/F Other half of the slapstick comedy duo
Queen Slytherina F Snow White’s wicked stepmother. Must get everyone booing and be able to banter with the audience
The Mirror M/F Mainly in scenes with the Queen but needs good comic timing and physicality. A sarcastic, world-weary presence.
Prince Kevin M/F The Prince traveling abroad on his gap year
Consort Arnold M/F The Prince’s travelling companion
Chamberlain M The King’s right-hand man and castle boss. Shares comic scenes with Dame
Sheryl F The Chamberlain’s obedient and efficient assistant. Very on-the-ball and attentive to what's going on.
King Copernicus M Snow White’s father, often in a daydream and absent-minded. Not a big role, but needs to show some presence in the second half. No singing.
Jester M The court jester, loons about on stage so needs good physical presence
Frank M The dim, human-size dwarf
Dwarfs M & F Six dwarves, require comic timing and banter
Page 6 of 10