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 [email protected] is [email protected] 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, [email protected] a young Spaniard finally hauls Charity out and the police arrive, asking [email protected]
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 [email protected] 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 [email protected] 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 [email protected] she realizes she has no money. Just then, film star Vi9orio Vidal rushes out of the smart Pompeii Club, in pursuit of his [email protected] 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 [email protected] 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 [email protected] 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 [email protected] 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 [email protected] in an underground car park.
A police raid breaks up the [email protected] 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 [email protected] 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 [email protected] seeing each other and she [email protected] 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 [email protected] 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 [email protected] since [email protected] 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 [email protected] 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 [email protected] 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 [email protected]
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, [email protected] 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 [email protected] to get out.
N/A
22 -­‐ 35
Hot headed and jealous wife of Italian movie star, Vi9orio Vidal. Has quite a flair for the [email protected]
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 [email protected] 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 [email protected] but has a kind side.
Baritone / Tenor
28 -­‐ 48
The leader of the Rhythm of Life Church. A spiritual, [email protected] but laid back kinda guy.
Carmen
21 -­‐ 35
Another dancer at the Fandango Ballroom. Knows Charity, Nickie and Helene. Very [email protected] 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 [email protected] of Chess. Musical Director: Jacqui Smith
Jacqui has been performing and [email protected] theatre, performing arts and musicals for many years and has been Musical Director for [email protected] [email protected], 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 [email protected] 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 [email protected] 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 [email protected] [email protected], 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-­‐[email protected] workshop on Friday 26th April. This is an opportunity to explore the characters in more detail, go through the [email protected] pieces and to [email protected] the dance [email protected]
The [email protected] will take place on Wednesday 15th May and Friday 17th May.
Rehearsals will then be on Tuesday and Wednesday evenings [email protected] from Tuesday 4th June and running [email protected] Wednesday 24th July when we will break for the summer.
We will resume rehearsals on Wednesday 28th August and [email protected] with Tuesdays and Wednesdays right up [email protected] 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 [email protected] 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
[email protected]
All
Wed 24 July
7.30 -­‐ 10.00pm
[email protected]
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 [email protected]
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 [email protected] 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 [email protected], please see the next page in this pack.
Other Audition Information
Sweet Charity is a brilliant ensemble show. Not only are there many [email protected] 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 [email protected] 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 [email protected] a principal role (as listed above) will have to [email protected] individually for the [email protected] panel. Prepare the singing and [email protected] pieces and try to be off book. The [email protected] will be open, which means that you will be expected to [email protected] in front of the panel as well as other people [email protected] 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 [email protected]
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 [email protected] workshops to get the key [email protected] needed.
2) Ask [email protected] before the [email protected] 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 [email protected] pieces & study the part.
4) Understand the plot – [email protected] in order to give an eff[email protected] [email protected]
5) Understand the character’s role in the [email protected]
6) [email protected] character’s [email protected] with others – develop [email protected] & prepare [email protected] with anyone “reading in” at the [email protected]
7) Ide[email protected] any physical [email protected] that the character has, and portray them.
8) Learn the words of the [email protected] 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) [email protected] – prepare any deep [email protected] of the character – Rage – Weeping – Sadness – Warmth etc..
and demonstrate them – [email protected] pieces will usually be chosen to allow for this.
11) Include any props if possible or use a [email protected] to simulate during [email protected]
12) Deliver lines and act with confidence to demonstrate your understanding of the character/part.
13) Stay in character throughout the [email protected] [email protected] (if you see it in 2 ways, explain this and demonstrate both, but be careful not to “confuse” or detract).
15) SONG: Learn the [email protected] Song(s) in the Key as wri9en. Be well rehearsed before audi7on.
16) [email protected] of song: Sing in character – with [email protected] – and use body language.
17) Good [email protected] reduces the nervous stress at [email protected] You have about 10 minutes to prove your suitability to the [email protected] 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 [email protected] gracefully -­‐ remember the [email protected] Panel want you to be successful.
They are not looking to fail you. If you have any real concerns, ask for comments from the [email protected] Panel on why you were not successful – [email protected] [email protected] can be helpful.
You may be a competent actor but are unsuitable for the part due to many [email protected] 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 [email protected] with the actors selected for other parts in the [email protected]
You may have been unsuccessful due to [email protected] and/or singing deficiencies and/or lack of [email protected]
Do not ask for this feedback if you are unable to take [email protected] [email protected]
CALL-­‐BACK AUDITIONS
Where a final decision cannot be made for a part following the [email protected], applicants may be advised that further [email protected] are needed and be “called back” for a second [email protected]
The call-­‐back [email protected] may also be open to [email protected] applicants previously unable to a9end.
Following [email protected], 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