AuDition Pack
AuDition Pack Sweet Charity Synopsis ACT ONE As the last bold, brass chords of the overture die away, a spotlight picks out a girl with a shoulder bag and a heart ta9ooed on her le: arm. Charity Hope Valen@ne is mee@ng her boyfriend in the park. While she tells him how great he's looking, the silent Charlie preens himself. Then he grabs her bag, pushes her into the lake and runs off. The passers-‐by discuss the apparent drowning but do nothing, un@l a young Spaniard finally hauls Charity out and the police arrive, asking ques@ons. An electric sign lights up, announcing 'The Fan-‐Dango Ballroom', where Charity works as a taxi-‐dancer. In the Hostess Room, Charity explains to the skep@cal girls how Charlie tried to save her -‐ 'He made a grab for me but all he got was my handbag.' The manager, Herman, arrives to tell them it's @me for work. A railing rises across the front of the stage, and we are in the seedy Ballroom. The girls drape themselves over the rail and proposi@on the audience. Helene and Nickie try to comfort Charity about Charlie's absence. On a New York street, a:er work, Charity gives to every beggar who approaches her un@l she realizes she has no money. Just then, film star Vi9orio Vidal rushes out of the smart Pompeii Club, in pursuit of his beau@ful mistress, Ursula. He bowls Charity over in more ways than one. Ursula refuses to go back inside with Vi9orio, who promptly takes the only-‐too-‐willing Charity instead. Inside the Pompeii Club, the dancers are dancing the latest craze -‐ The Rich Man's Frug. To everyone's astonishment, Charity sits down with the famous Vi9orio Vidal. She tries to steer him away from the subject of Ursula and, finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be 'laid down'. 'But where?' asks Vi9orio. Charity opens her eyes, 'Your apartment!' Lying down on Vi9orio's bed, Charity suddenly isn't hungry any more. She admits she's a dance hall hostess, pu[ng it down to 'the fickle finger of fate' -‐ a favorite expression of hers. Vi9orio is struck by her humour and honesty. Totally starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vi9orio fetches props from his old movies for further evidence, Charity sings excitedly one of the show-‐stopping numbers, "If My Friends Could See Me Now". Then Ursula arrives to apologize for her jealousy. Charity is swi:ly bundled into a closet before Vi9orio opens the door to his fiancée. The scene switches to farce. Vi9orio sings roman@cally to Ursula while passing a beer to the closet-‐hidden Charity. Puffing a cigare9e, she watches through the keyhole as Vi9orio and Ursula make love. 'Gee,' says Charity, impressed, '... talk about your foreign movies!' In the Hostess Room, the following night, the girls are disgusted that Charity didn't get more out of Vi9orio. Nickie says she's not going to s@ck this crummy job for the rest of her life but Herman brings them back to down to earth. An electric light announces Charity's 'Big Decision'. She's going to get some culture from the YMCA on 92nd Street. At the Y, Charity gets stuck in the li: with shy, panicky tax accountant, Oscar Lindquist. While trying to calm him down, Charity finds out he isn't married. 'Oh, Oscar,' she declares. 'You're gonna be all right.' The lights go out and Act One ends with them yelling for help. ACT TWO Act Two finds them s@ll in the elevator, but not for long. Finally released, Oscar invites Charity to go to church with him. It turns out to be The Rhythm Of Life Church, which is holding its unorthodox mee@ng in an underground car park. A police raid breaks up the mee@ng. A:erwards, Oscar proposes another date. On the subway home, he tries to guess Charity's job -‐ it's in a bank. Unlike with Vi9orio, Charity lies: 'You guessed it. First Na@onal City, Williamsburg Branch.' As they part, another sign lights up 'The First Kiss'. Oscar kisses her hand, and dubs her 'Sweet Charity'. Two weeks later, Oscar and Charity are s@ll seeing each other and she s@ll hasn't told him what she actually does for a living. Out at Coney Island Amusement Park they get trapped again -‐ this @me on the parachute jump. But now he is the calm one and she is scared -‐ scared that she is star@ng to depend on him. Once again, Charity loses her nerve about telling him what her real job is. It's far too pleasant just listening to Oscar, who has turned manly and protec@ve since mee@ng her. As the crowd look on, the couple kiss. On a slow night at the Fan-‐Dango, Charity is beaten to one of the few customers by the new girl. Finally disgusted by the whole business, she quits. But on Times Square she wonders what the alterna@ve is. At Barney's Chile Hacienda, Charity meets Oscar to have it out. She admits that she's a dance hall hostess. But he knows. He followed her one night and watched for an hour. He doesn't care and wants to marry her. Charity leaves on cloud nine and packs a suitcase on which is printed 'Almost Married'. A:er a farewell party at the Ballroom Charity and Oscar walk in the park when Oscar drops the bombshell. He can't marry her. He's been thinking about the men before him. 'Marry me and I'll destroy you, Charity,' he says. 'That's okay,' says Charity, 'I'm not doing much now, anyway.' Urging her to run away, Oscar pushes her into the lake. Then he leaves. Charity emerges. 'Did you ever have one of those days?' she asks the audience. But at least she s@ll has her bag. She is just thinking that maybe things are looking up when, right on cue, the Good Fairy appears. 'Dreams will come true tonight!' she promises, sca9ering stardust. She turns to go. On her back is a sign saying: 'Watch "The Good Fairy" Tonight ... 8 o'clock ... CBS.' Charity shrugs, and begins to dance, alone again as at the start. Three fluorescent signs appear in turn, reading: 'And So She Lived' ... 'Hopefully' ... 'Ever A:er'. Musical Numbers ACT ONE Overture You Should See Yourself Big Spender Charity’s Soliloquy Rich Man’s Frug If My Friends Could See Me Now Too Many Tomorrows Ciao Baby There’s Go9a Be Something Be9er Than This I’m The Bravest Individual ACT TWO The Rhythm Of Life Baby, Dream Your Dream Sweet Charity Big Spender (Reprise) Where Am I Going? I’m A Brass Band I Love To Cry At Weddings Finale Instrumental Charity Nickie, Helene and Girls Charity Ensemble Charity Vidal Charity Nickie, Helene and Charity Oscar and Charity Daddy Brubeck, Assistants and Ensemble Nickie and Helene Oscar and Ensemble Helene and Girls Charity Charity and Men Herman, Nickie, Rosie, Helene and Ensemble Full Company Main Characters Character Voice Type Age Descrip7on Charity Hope Valen@ne Alto/Mezzo 24 -‐ 34 The girl who wanted to be loved'. Our eponymous heroine is a taxi-‐dancer at the Fandango Ballroom. She is as she sounds, her three names sum her up well. Charity is kind, ambi@ous and in and out of love. A gullible, happy go lucky, girl next door. Helene Alto/Mezzo 25 -‐ 35 A close ally of Helene's and friend of Charity's. Helene has probably been working at the Fandango Ballroom less @me that Nickie but longer than Charity. She is feisty and confident. Nickie Alto/Mezzo 25 -‐ 38 A taxi dancer at the Fandango Ballroom. Nickie assumes the maternal role over the girls. She has seen it all and is quick to offer advice to Charity and the other girls. Like Charity though she has aspira@ons to get out. N/A 22 -‐ 35 Hot headed and jealous wife of Italian movie star, Vi9orio Vidal. Has quite a flair for the drama@c. Baritone 25 -‐ 35 An educated, well-‐spoken American young man, shy, repressed and gawky. Works as an actuary (the most boring job in the world). The reluctant roman@c lead of the show. He meets Charity, falls in love with her but then struggles to come to terms with Charity's past as a taxi-‐dancer. Vi9orio Vidal Tenor 30 -‐ 45 A famous Italian movie star. A smooth, quite modest, gentle soul. Requires Italian accent. Herman Tenor 30 -‐ 55 The boss of the Fandango Ballroom. Not really well liked and quite authorita@ve but has a kind side. Baritone / Tenor 28 -‐ 48 The leader of the Rhythm of Life Church. A spiritual, enigma@c but laid back kinda guy. Carmen 21 -‐ 35 Another dancer at the Fandango Ballroom. Knows Charity, Nickie and Helene. Very sarcas@c. Rosie 18 -‐ 25 The hot new girl at the Fandago Ballroom. Fresh off the bus, but whip smart and easily corrupted. Ursula March Oscar Lindquist Daddy Brubeck Sweet Charity The Production Team Director: Paul Clark Paul is an experienced performer and director who has worked professionally both in this country and abroad. He has appeared numerous @mes in the West End and currently teaches drama and singing to 6-‐18 year olds at a theatre school in Rugby. He has been involved with SMTC once before when he took the part of Walter De Courcey in the society’s produc@on of Chess. Musical Director: Jacqui Smith Jacqui has been performing and direc@ng theatre, performing arts and musicals for many years and has been Musical Director for mul@ple socie@es, schools, choirs, dance schools and theatre companies for over two decades now. Her musical journeys have taken her through many years as a singing teacher and vocal coach and she has had many successful students who are now working full @me as singers and professional performers all around the world. She s@ll regularly performs professionally as a singer and actress and she has worked with SMTC before in the role of Gloria, the Science Officer in 'Return to the Forbidden Planet'. A hands-‐on MD with a dynamic and commi9ed approach to any new and exci@ng project, Jacqui is really looking forward to working with SMTC members on what promises to be a brilliant show. Choreographer: Sara Higgins Sara is the co-‐director of Fiery Feet Dance Studio in Leamington Spa. Established for over 10 years she is an experienced teacher and choreographer. Away from the studio she has spent the past 5 years involved with several amateur drama@c socie@es, most recently with LWMS as Ulla in 'The Producers'. Sara is excited to be returning to SMTC having played April in 'Company' in 2010. Paul Clark Jacqui Smith Sara Higgins Director Musical Director Choreographer 07825 988372 07947 315053 07790 648931 [email protected] [email protected] [email protected] Important Dates There is a pre-‐audi@on workshop on Friday 26th April. This is an opportunity to explore the characters in more detail, go through the audi@on pieces and to prac@ce the dance audi@on. The audi@ons will take place on Wednesday 15th May and Friday 17th May. Rehearsals will then be on Tuesday and Wednesday evenings star@ng from Tuesday 4th June and running un@l Wednesday 24th July when we will break for the summer. We will resume rehearsals on Wednesday 28th August and con@nue with Tuesdays and Wednesdays right up un@l the week of the show (Monday 28th October -‐ Saturday 2nd November). Please also pencil the following Sundays into your diaries (not everyone will be called to every rehearsal) -‐ 6th October, 13th October, 20th October and 27th October. Unless otherwise stated, all rehearsals and audi@ons will take place at the racecourse in Strasord. Sweet Charity Rehearsal Schedule 1 Date Time Rehearsing Tue 4 June 7.30 -‐ 10.00pm “Rhythm of Life” -‐ Singing All Wed 5 June 7.30 -‐ 10.00pm “Rhythm of Life” -‐ Dancing All Tue 11 June 7.30 -‐ 10.00pm “Rhythm of Life” -‐ Singing All Wed 12 June 7.30 -‐ 10.00pm “Rhythm of Life” -‐ Dancing All Tue 18 June 7.30 -‐ 10.00pm “Rhythm of Life” / “Big Spender” -‐ Singing All Wed 19 June 7.30 -‐ 10.00pm “Big Spender” -‐ Dancing Fandango Girls Tue 25 June 7.30 -‐ 10.00pm “Rich Man’s Frug” -‐ Dancing Loosely block Act 1 with Principals 7 Girls, 7 Boys Principals Wed 26 June 7.30 -‐ 10.00pm “Rich Man’s Frug” -‐ Dancing Loosely block Act 2 with Principals 7 Girls, 7 Boys Principals Tue 2 July 7.30 -‐ 10.00pm “Love to Cry at Weddings” -‐ Singing All Wed 3 July 7.30 -‐ 10.00pm “Love to Cry at Weddings” -‐ Dancing All Tue 9 July 7.30 -‐ 10.00pm Recap everything covered so far -‐ Singing All Wed 10 July 7.30 -‐ 10.00pm Recap everything covered so far -‐ Dancing All Tue 16 July 7.30 -‐ 10.00pm “I’m a Brass Band” -‐ Singing All except Daddy, Herman or Fandango Girls Wed 17 July 7.30 -‐ 10.00pm “I’m a Brass Band” -‐ Dancing All except Daddy, Herman or Fandango Girls Tue 23 July 7.30 -‐ 10.00pm Troubleshoo@ng All Wed 24 July 7.30 -‐ 10.00pm Troubleshoo@ng Solos All Charity SUMMER BREAK -‐ LEARN YOUR WORDS! NB: Rehearsals start again on Wednesday 28th August. Who? Sweet Charity Main Character Audition Pieces Character Charity Valen@ne Dialogue Songs 1.8.65 -‐ 1.8.67 2.11.50 -‐ 2.11.51 (1.5.31 -‐ 1.5.32 with Vidal) If My Friends Could See Me Now (bars 17-‐71) Nickie/Helene 2.6.24 -‐ 2.6.25 (be prepared to read both parts) There’s Go9a Be Something Be9er Than This (bars 62-‐107 and bars 168-‐191) Vi9orio Vidal 1.5.31 -‐ 1.5.32 (1.6.49 -‐ 1.6.51 with Ursula) Too Many Tomorrows (bars 1-‐40) Oscar Lindquist 1.8.65 -‐ 1.8.67 2.11.50 -‐ 2.11.51 Sweet Charity (bars 1-‐49) Herman 2.10.40 -‐ 2.10.41 I Love To Cry At Weddings (bars 1-‐43a) Daddy Brubeck 2.2.8 -‐ 2.2.9 Rhythm Of Life (bars 1-‐48) Ursula March 1.6.49 -‐ 1.6.51 N/A Fandango Dancers 1.3.16 (Alternate lines -‐ will be audi@oned in pairs) Big Spender (bars 17-‐37) CALLBACK: I’m The Bravest Individual (bars 1-‐45) or Where Am I Going? (bars 7-‐48) For more detail on the songs for the audi@ons, please see the next page in this pack. Other Audition Information Sweet Charity is a brilliant ensemble show. Not only are there many fantas@c song and dance sequences but, because Charity visits many different places in New York (Central Park, a nightclub, the Fandango, the YMCA, the Rhythm Of Life Church, etc), there is the opportunity for the ensemble to create many different characters. One minute a New Yorker out in Central Park, the next a dancer in high society, the next a drugged up groupie of a cult Church leader, the show is fast moving and challenging for the ensemble. DANCING AUDITIONS Please note that everyone will learn a sec@on of “Rich Man’s Frug” and “Rhythm of Life”. ENSEMBLE AUDITIONS We also need to hear everyone sing for us. You will sing excerpts of “Rhythm of Life” as part of a small group, singing a line on your own. This will be explained in more detail. PRINCIPAL AUDITIONS Everyone wan@ng a principal role (as listed above) will have to audi@on individually for the audi@on panel. Prepare the singing and ac@ng pieces and try to be off book. The audi@ons will be open, which means that you will be expected to audi@on in front of the panel as well as other people wan@ng to be in the show. We’re a friendly bunch, so please try not to be nervous! Sweet Charity Singing Audition Pieces CHARITY HOPE VALENTINE -‐ "If My Friends Could See Me Now" SONG 18 (Bar 17 to Bar 71) p72 of score / 1-‐6-‐43 in script for lyrics. This involves the humming sec@on. IF CALLED BACK, WILL BE REQUIRED TO SING SOME OF "I'm The Bravest Individual" from beginning to Bar 45 OR "Where Am I Going?" from Bar 7 to Bar 48. NICKIE -‐ "There's Go9a Be Something Be9er Than This" SONG 22 (Bar 62 to Bar 107 including speech) p99 of score / 1-‐7-‐58 in script for lyrics. HELENE -‐ Same as above BUT Bar 62 to to 81 "Phooey! There's go9a be something cleaner than this....." TO "Get up get out and live it!" Bar 81. Skip to Bar 168 to vamp for speech to finish at Bar 191. FANDANGO DANCERS -‐ "Big Spender" SONG 7 (Bar 17 to Bar 37) p33 of score / 1-‐3-‐16 in script for lyrics "The minute you walked in the joint...." TO "spend........a li9le @me with me." VITTORIO VIDAL -‐ "Too Many Tomorrows" SONG 19 (from beginning to Bar 40) p87 of score / 1-‐6-‐51 in script for lyrics -‐ finish on "If you stay with me....." OSCAR LINDQUIST -‐ "Sweet Charity" SONG 37 (from beginning to Bar 49) p159 of score / p2-‐5-‐21 in script for lyrics -‐ finish on "Please belong to me!" before dialogue in song. HERMAN -‐ "I Love To Cry at Weddings" SONG 46 (from beginning to Bar 43A) p199 of score / 2-‐10-‐45 in script for lyrics. Finish before Rosie sings. DADDY BRUBECK -‐ "Rhythm of Life" SONG 30 (from beginning to the first note of the word "beat"/"feet" in Bar 48) p30 of score / p2-‐2-‐5 in script for lyrics. At Bar 33 sing Group B, Bar 41 choose "R of L powerful beat" vocal line OR "To feel the R of L" vocal line. The two assistants and any addiVonal solo part/small group singing in this song will be heard in the company/ensemble audiVons. Please inform us upon audiVon registraVon if you would be interested in a harmony solo secVon in “Rhythm of Life”. COMPANY/ENSEMBLE -‐ "Rhythm of Life" SONG 30 (from beginning to Bar 24 "spread the religion of the rhythm of life." p130 of score / 2-‐2-‐5 in script for lyrics. Sweet Charity Audition Guidelines 1) Make sure you a9end the audi@on workshops to get the key informa@on needed. 2) Ask ques@ons before the audi@on day to make sure you know everything you need to know – don’t be afraid to ask. It demonstrates a desire to do well. 3) Read the audi@on pieces & study the part. 4) Understand the plot – essen@al in order to give an effec@ve audi@on. 5) Understand the character’s role in the produc@on. 6) Iden@fy character’s rela@onships with others – develop reac@ons & prepare interac@on with anyone “reading in” at the audi@on. 7) Iden@fy any physical characteris@cs that the character has, and portray them. 8) Learn the words of the audi@on piece(s) – it allows you to act more freely and will always earn you bonus marks. 9) Accent – a9empt to speak with the accent required – demonstrate your ability to speak in character. 10) Emo@on – prepare any deep emo@ons of the character – Rage – Weeping – Sadness – Warmth etc.. and demonstrate them – audi@on pieces will usually be chosen to allow for this. 11) Include any props if possible or use a subs@tute to simulate during audi@on. 12) Deliver lines and act with confidence to demonstrate your understanding of the character/part. 13) Stay in character throughout the en@re audi@on (if you see it in 2 ways, explain this and demonstrate both, but be careful not to “confuse” or detract). 15) SONG: Learn the Audi@on Song(s) in the Key as wri9en. Be well rehearsed before audi7on. 16) Presenta@on of song: Sing in character – with emo@on – and use body language. 17) Good prepara@on reduces the nervous stress at audi@on You have about 10 minutes to prove your suitability to the audi@on panel – Prepare, Prepare, Prepare. You must fully prepare in order to give your best performance and to achieve any chance of success – There are NO SHORT CUTS. Audition Results Accept rejec@on gracefully -‐ remember the Audi@on Panel want you to be successful. They are not looking to fail you. If you have any real concerns, ask for comments from the Audi@on Panel on why you were not successful – construc@ve cri@cism can be helpful. You may be a competent actor but are unsuitable for the part due to many construc@ve reasons: -‐ 1) Physically unsuited for the part: Height – general body size – age – posture – movement ability. 2) Vocal range unsuitable – or other vocal issues. 3) Not compa@ble with the actors selected for other parts in the produc@on. You may have been unsuccessful due to ac@ng and/or singing deficiencies and/or lack of prepara@on. Do not ask for this feedback if you are unable to take construc@ve cri@cism. CALL-‐BACK AUDITIONS Where a final decision cannot be made for a part following the audi@ons, applicants may be advised that further audi@ons are needed and be “called back” for a second audi@on. The call-‐back audi@on may also be open to addi@onal applicants previously unable to a9end. Following audi@on, all successful applicants must be paid-‐up members of Strasord Musical Theatre Company before any rehearsals commence. Audition Form - Sweet Charity Personal Details Name: Address: Postcode: Telephone Number: Date of Birth: Email Address: Character Auditions Please provide the following information: I wish to audition for the following roles: Charity Nickie Helene Ursula Vidal Oscar Herman Daddy Fandango Dancer I consider myself to be... A Dancer A Mover Yes No Soprano Alto Would you accept a different role if offered? What is your vocal range (if known)? Ensemble Neither a Dancer or Mover Tenor Previous theatre experience: (please give details of any recent roles) Do you have any specialist skills? (eg. gymnastics, fire-breathing, etc..) Why do you want to be in the show? For Production Team use only Singing: Dancing: Acting: Notes: Cast as: Called Back as: Bass
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