WHEN & WHERE: Saturday, January 27 in PCAC Room M213. Audition slots begin at 2pm. Sign up for a 5-minute audition slot on the THDA Call Board.
WHAT TO PREPARE: A one-minute, realistic, serio-comic or dramatic monologue and a short song of your choice to be sung acapella. (remember- singing quality is NOT crucial- but commitment is).
AUDITION FORM: Click HERE.
Please Note: Actors can be cast in both projects. On the form, please check the box to indicate if you are auditioning for just Mr. Burns, just Honor Killing or both plays.
Call-Backs for both plays: Sunday, January 28, 9am-12pm in the Hennessy Theatre. Actors will be assigned specific scenes to prepare. However, actors should be ready to also work with additional scenes they may have not been called back for.
What to Expect for Mr. Burns: Mr. Burns: A Post Electric Play will require a unique blend of comic and dramatic ability from the actors. Acts I and II and ultimately entirely realistic and authentic, under the imaginary circumstances of the play; A post-apocalyptic world where people are trying to survive. At the same time, there is an underlying humor to the piece- as the method of survival in act I is through recalling the Cape Fear episode of The Simpsons, and act II is watching this small band of survivors rehearse their Simpson based performance like the meandering troubadours and performers in the dark ages after the fall of Rome. Act III takes on entirely new acting demand that fuses Greek and Musical Theatre in a quasi-religious re-telling of the classic hero journey ala the same episode of the Simpsons.
FAQs Mr. Burns:
Do I need to be able to sing for this production? No. Though there is singing- not all characters have to sing- and of those who do sing, they do not necessarily have to sing well.
What is the rehearsal period? We will start the first day back from spring break. Rehearsals are generally M-F 6:30-10:30pm (This may switch to 6-10pm if it turns out that is workable with the cast’s schedule). We also will rehearse Sundays. Time TBA. There is the likelihood that we would rehearse on a Saturday OR have an 8-hour rehearsal on the weekend due to loss of rehearsals because of weather conditions or due to time conflicts.
How often will I be expected to be at rehearsals? This is a pretty ensemble based piece- so expect to have to be at most rehearsals. That being said- I may shift the actors who are in act I and II to more of a chorus role, and cast others in the major roles for act III. That means that there may be some actors who will only be called when act III is in rehearsal.
FAQs: Honor Killing
What is the Honor Killing project? This is a rehearsed reading of the Woodward Prize Second Runner Up play. The play will be performed at UNH on February 28 and at the 3S Arts Center in Portsmouth on March 1. The play has received readings in NYC and has just been picked up for its professional (AEA) world premiere at the Florida Studio Theatre.
*Important: Call for the Portsmouth performance may be as early as 4pm on Thursday, March 1. Check you class schedule. This would be an excused absence in almost all cases.
When will it rehearse and how much rehearsal will it have? Rehearsals will be arranged around the actors’ schedules. There will be no more than three, four-hour rehearsals. This is a small cast production and all actors will be expected to attend all rehearsals.
Will this be all students? No. The performance may include some faculty and/or alumni. The play will also include two to three actors who will be part of the performance through a live feed internet connection. These actors will be either from Pakistan or NYC.
How “produced” will this performance be? Actors will perform with scripts on music stands. There will be minimum staging.
Will the Playwright be here for the readings? Yes! Playwright Sara h Bierstock will be coming from NYC to be at the final rehearsal and at both performances.
QUESTIONS: Contact David Kaye, firstname.lastname@example.org.
The University of New Hampshire Department of Theatre and Dance announces auditions for its 2018 Studio Musical production of LIZZIE: The Musical - book, music and lyrics by Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt. Auditions/call backs will be held on FRI MAR 2 @ 6:15-10:45 in M213, rehearsals will begin SUN MAR 4 @ 6:15-9:15. (A sign-up sheet will be posted on the THDA callboard on Mon Feb 19). Performances will run FRI APRIL 27 – SUN APRIL 29 at UNH in the Hennessy Theatre (all @ 7:00pm), AND a possible additional off-campus performance on THURS MAY 3 @ 7:00 pm; details TBA soon (students would need to be fully available for all performances in both locations). Auditioners are expected to know the show, and are asked to present the following materials: (1.) any 1-minute contemporary monologue done in an Irish dialect, and (2.) a 1-minute cutting of any contemporary musical theatre song that shows off your highest HEALTHY mix belt range (not in dialect). An audio file of Irish dialect help is posted on the audition website to assist you. Please dress comfortably for a professional audition and bring your completed audition form (posted here on the website), a copy of your updated theatre resume (no headshot), and your music in your correct key; an accompanist will be provided.
From the authors:
LIZZIE Borden – Mezzo with high mix belt: F#3–F#5 (optional A5). Lizzie is damaged, twisted. She can turn on a dime from fragile, broken, meek and obedient to conniving, sinister, furious and terrifying. She is a wounded animal backed into a corner, terrified but enraged. We find her at the moment she realizes she has nothing to lose. She is transformed through acts of unspeakable transgression and ultimately turns her own historical infamy into a glorious ascension, into legend.
EMMA Borden – Alto/mezzo mix belt with head voice: F#3–D5. Emma is the older sister, eclipsed by the younger. She must content herself by playing a motherly Lady Macbeth to Lizzie, dripping her own hatreds into Lizzie’s ears over the years, stoking the fires of Lizzie’s rage, disappearing when the deeds must be done and suffering with guilt afterwards. Emma is a woman who has come to see that every opportunity for happiness has passed her by. She's furious, but she's also desperately sad.
BRIDGET Sullivan (“Maggie”) – Low alto belt with head voice: F3–Eb5. Bridget is the Borden’s Irish maid. She may be a banshee, called to wail at the Borden’s door. She always seems to know what is going to happen; does things one step before anyone else. She’s put upon, angry, and as resentful of the Borden sisters as she is of the parents. Bridget is the Sex Pistols rock and roll nihilist, ready to f*ck things up because she knows that’s the only way anything is ever going to get better. She’s the comic relief and the razor-sharp bear trap, ready to turn your leg into a bloodied stump.
ALICE Russell – Mezzo/lyric mix belt: G3–A5 legit soprano. Alice is the Borden’s next-door neighbor. She is a luscious pear, the sensuous mother/sister/lover, which is so sorely lacking in Lizzie’s life. She appears to Lizzie in Lizzie’s greatest moment of need, and attempts to lead her away from a path of destruction and toward one of love, truth, and affection. Lizzie may well have true feelings of love for Alice. And/or she may be using her for her own needs. We’ll see.
AUDITION FORM: Click HERE.
DIALECT AUDIO FILE: Click HERE.
AUDITIONS INFO TBA.