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Radford University Department of Theatre and Cinema Announces Auditions: Wonder of the World
By David Lindsay-Abaire
Directed by Molly Hood
WHEN: Monday, August 26th at 6:30 pm and Tuesday, August 27th at 6:30pm. It is strongly preferred that you attend the first night of auditions on Monday. Callbacks will immediately follow Tuesday night’s auditions, at approximately 7:00 pm.
WHERE: Pridemore Playhouse, Porterfield Hall
WHAT TO PREPARE:
- A memorized 60-90 second contemporary, comedic monologue.
- You may be asked to read from the script at the initial audition.
- The best way to prepare for this audition is to read and know the play, and to dedicate yourself to presenting a well-prepared audition piece.
- Callbacks will consist of readings from the script.
- Bring your complete class and work schedule for August 28th - October 6th. Cast and crew will have to miss some class on Wednesday October 2nd for a matinee.
4 women and 3 men who have an aptitude for language, comedic timing, physical movement, and bringing truth to outrageous situations. Work with dark comedy and absurdism a plus.
Cass Harris: in her 30s, anxious to start a new life. Naïve. Energetic. Optimistic. Funny.
Kip Harris: Cass’ husband, also in his 30s. Nice guy, with an unusual fetish, who just wants his wife to come home.
Lois Coleman: a little older than Cass. An alcoholic with a barrel. Cynical and suicidal, but with a streak of optimism, verve, and humor.
Karla: in her 60s, a dabbler. Likes to be in in control.
Glen: Karla’s husband, also in his 60s, a dabbler. Forgetful. Has a slight case of A.D.D.
Captain Mike: in his 30s. Maid of the Mist Captain. Laid back and likeable. Tragic past.
Barbara, Helicopter Pilot, 3 Waitresses, and Janie: All played by one female performer. Must be adept at shifting easily and quickly between distinct vocalizations and physicalizations for each character. A Kate McKinnon type. Amy Sedaris originated the role Off Broadway.
Barbara – Texas accent. Big Hair.
Helicopter Pilot – Counsels. If she wasn’t a pilot, she’d be a bartender.
Waitress 1 – Cockney accent. Works in a medieval themed restaurant.
Waitress 2 – Works in a Native American themed restaurant.
Waitress 3 – Speaks with a Transylvanian accent. Must scream on stage.
Jamie –Marriage counselor who moonlights as a clown at a children’s hospital. Forthright. Does not mince words.
Please direct any questions to Director Molly Hood at firstname.lastname@example.org
By Ken Jones
Directed by Timothy Glover
Production runs October 23rd-27th
Rehearsals begin September 9th
Thursday August 29, 2019 at 6:30 p.m. and Friday August 30 at 6:30 p.m.
It is strongly preferred that you attend the first night of auditions,
Callbacks will follow Friday night’s audition.
Hawes Studio Theatre, Porterfield Hall
WHAT TO PREPARE
● 60-90 second memorized monologue in the style of the play.
● The best way to prepare for this audition is to read the play and bring a monologue.
● Bring your complete work and class schedule for August 29-October 27.
● Callbacks will consist of readings from the script.
4 men, 2 women and 1 non-gender specific performer ready to explore this story of space travel which shows the sacrifices astronauts and their families make for the advancement of humanity.
- Capcom - Capsule Communications. Mission Control. Called Houston.
- William “Bill” Griffin - Command Module Pilot. Loyal. Stubborn. Wants to get his crew back home. He is constantly stuck in his head and can’t forgive himself.
- Edward “Ed” Stone - Lunar Module Pilot. The “perfect astronaut.” Struggling to live up to his own standards.
- Gerald “Gunner” Smith - Flight Commander. In control. Trying to keep his crew under control and up their spirits. Loves the feeling of blasting off.
- Beth Griffin - Bill’s wife. Dedicated. Supportive. Has trained to be an astronaut’s wife.
- Gigi Stone - Ed’s wife. Lonely. Feels she has lost her husband to the moon.
- Reporter, Bob Hughes - Wants to know the whole truth and will do anything for the pursuit of the truth.
Contact Tim Glover at email@example.com
Alice @ Wonderland
By Jonathan Yukich
Directed by Wesley Young
WHEN: Sunday, September 1, at 3:00 p.m., and Monday, September 2, at 7:00 p.m.
Please attend the first round of auditions if possible.
Callbacks will take place after the second round of auditions (Monday evening).
WHERE: The Hawes Studio Theatre, Porterfield Hall
WHAT: Auditions will consist of theatre games, improvisation and readings from the script. So, you will read from the script in the initial round(s).
Knowing the play is the best preparation. Many of the “usual suspects” from the Lewis Carroll source material are characters in the play. Think about your own take on these familiar figures.
Come dressed to move, run around, and have fun.
Callbacks will consist of reading from the script.
Please bring your complete class and work schedule for the period from October 7-November 22.
This production performs across several weekday mornings for area schoolchildren.
SEEKING Responsible, highly creative performers to create a colorful, fantastical, high-energy rendering of this fun script.
- White Rabbit
- Queen of Hearts
- Cheshire Cat
- Mad Hatter
- March Hare
- Humpty Dumpty
- King of Hearts
- Fish Newsie
- Frog Newsie
- Queen’s Guards
Contact Wesley Young at firstname.lastname@example.org with any questions.
GENERAL RU THEATRE AUDITION INFO AND TIPS
- Auditions typically happen in the first two weeks of each semester. Occasionally an exception occurs in which a spring production may audition late in the fall semester.
- RU Theatre auditions are open, meaning anyone can audition. You don’t have to be a theatre major. Community members may audition also with the understanding that priority in casting will go to RU students.
- Most of our auditions require prepared material. If you are not a theatre student and don’t know how to prepare and present the requested material, usually something will be supplied to you to read. Theatre majors, however, are required to prepare according to the requirements for a given audition. In the case of plays requiring very specific skills such as singing in a musical, auditionees are highly encouraged to prepare the appropriate material.
- Performance majors are required to audition for ALL productions. More on this below.
Other audition “words to the wise”:
- When it comes to auditions, one of the few things in your control is your level of preparation. Reading the play is, arguably, the most important thing you can do to prepare. The plays are available from bookstores, online vendors and/or the play publishers.
- It is the expectation that all performance students audition for all shows. Our auditions are designed to provide a variety of audition experiences so take advantage of these experiences right from the start. Every audition is one more step toward becoming comfortable with the process. In addition, it allows the faculty to see your work right away.
- Take care not to “type” yourself at this point. Prepare, come on out and let the directors decide what you are “right for.” Certainly, if there is a role you are dying to play, or you are “perfect for,” shoot for that, but keep an open mind and don’t allow the attitude of “all these characters are older and I am only 18” stop you from coming to auditions. In university theatre the plays are produced to give you the opportunity to work on them.
- Auditions are intimidating. Talk to the upperclassmen; use the performance faculty as a resource to answer your questions. However, no matter how much inquiry you make there will be no substitute for doing your personal preparation –reading the scripts, looking up unfamiliar words/references, making choices, being familiar with what the director is looking for (read audition notices carefully), getting rest, planning to dress appropriately, knowing where you are going and arriving early to sign in, warm up, etc.
- It is smart to attend the first night of auditions if at all possible.
- Once you are in the audition it is important to listen to instructions, have a positive attitude, be flexible when the unexpected happens, focus on what you are doing, and, of course, that age-old challenge…allow yourself to be at ease so you can do your best work.