CLICK HERE TO FILL OUT AUDITION FORM
Show the casting
directors how reliable you are by showing up at least fifteen minutes
before the audition. Be courteous, but don’t be too talkative. Don’t
pester crew members or fellow actors with idle conversation. Spend your
time privately readying yourself.
Bring a headshot and resume if
you have one. It will help to make a favorable and professional
Think of the audition like a job interview. Avoid
inappropriate behavior, whether its chewing gum, using profanity,
behaving too shyly or brashly, or over selling yourself.
Usually, it is
best to wear “business casual” attire. You want to exhibit charm and
professionalism, but you don’t want to look like a stock-broker or a
If you are auditioning for a dancing part in a musical,
wear dance attire. It should not be anything flashy or expensive. Any
choreographer worth her salt will focus on your dancing ability, not
Perfect Your Monologue
are asked to read a monologue, make certain that you have rehearsed it
completely. Do not just know the lines, know the character you are
becoming. Let the directors see a striking difference between the person
that just said hello to them, and the character that is now coming to
life on the stage.
Get to Know the Play
of our auditions involve reading “sides.” Sides are small, hand-picked
portions of a script. Sometimes they are a brief monologue. Sometimes
they are short scenes involving two or more characters. Most of the
time, you won’t know exactly what scene you’ll be reading. In that case,
you’ll want to familiarize yourself with the play in general.
Practice Cold Reading
Cold reading is the act of performing
lines as you read them for the very first time. It can be a nerve
wracking experience, but with practice most actors can become quite
adept at it.
Come prepared to
"PERFORM" 16 bars of a musical theatre song that best reflects the
character you hope to be cast as and best reflects your voice quality
and range. Failure to prepare a proper audition song or coming into the
audition singing Happy Birthday or reading off the sheet music shows a
lack of respect to the audition panel and speaks volumes to them of your
Be sure your sheet music has the piano accompaniment,
usually the bottom 2 staves below the vocal line. Mark your sheet music
where you wish to start and finish.
Do not sing accapella or use self accompaniment. It is
important for the panel to see how well you can follow the pitch and
rhythm of the accompanist.
audition, if you feel you've done poorly avoid excuses or apologies in
hopes of gaining sympathy. Simply thank the casting directors and leave
the knowing that if you are right for the part, they will contact you.
If not, know that you did your best. And remember: there are many other
wonderful roles out there just waiting to be filled.
RELAX & ENJOY THE EXPERIENCE
Main Street Theatre Company
3018 Bordentown Ave, Parlin NJ
Monday & Tuesday, September 18 & 19 - 7:30pm to 9:30pm
Callbacks by invitation only: Thursday, September 21, 7:30 pm
DIRECTED BY: Kevin Gunther and Dawn Fulbrook
MUSICAL DIRECTOR: Nicole Barrow White
CHOREOGRAPHER: Susan Zuckerman
December 1 - 10
Fridays at 8pm, Saturdays at 2pm and 8pm, Sundays at 2pm
This version is 98% true to the original Dickens classic with a rich score
by Stephen Deceare
ALL ROLES OPEN
Actors and Actress between the ages of 5 to Adult. Casting will be Age
Vocal audition – Come prepared to sing 16-32 bars of an up-tempo show tune. Bring sheet music
with piano accompaniment or an Iphone track. An accompanist will
ALL ROLES OPEN
Roles for YOUNG PERFORMERS (Ages 5-14)
Boy Scrooge: 9-13. This is the sweet, innocent Scrooge before he becomes the
Scrooge of legend. He is the only one left alone in his school yard during
Christmas recess. His only hope is to go home to his family and when his
sister Fan shows up, he things she will make that dream come true. When he
learns that is not the case, his heart is broken – as is ours.
Fan: 13-18. Scrooge’s devoted sister – becomes Fred’s mother. She risks a
lot to see Boy Scrooge for one last time. Very emotional, but must keep in
control for fear of exposing too much sorrow to the boy.
Peter Cratchit: 10-14. The elder Cratchit child – a very industrious,
bright, energetic, positive force in the family. He does all he can to help
around the house and makes special efforts to care for little, Tiny Tim.
Martha Cratchit: 9-13. The second eldest Cratchit child who works in a
textile factory away from home. She misses her family terribly and makes the
most of every opportunity to be with her family. She has learned much from
her mother about caring for a house and caring for people.
Belinda Cratchit: 6-9. The second youngest Cratchit child who is adorable
and sweet and is about to learn how to make the family’s secret recipe for
Tiny Tim: 5-7. The youngest Cratchit child, frail, weak, suffers from a
Vitamin D deficiency which causes him to be on crutches. He is eternally
hopeful and sees the suffering in others much more than the suffering in
himself. Must be less than 50 pounds.
Turkey Boy: 8-11. A petite delivery boy who carries a huge turkey to the
Cratchit house upon a transformed Scrooge’s instructions. Must have great
comic ability. And be able to carry a heavy turkey.
Christmas Past : 10-14. Very spirited girl with an ethereal quality. Must
have great command of language. She bosses Scrooge around a bit and knows
how to use tough love to her best advantage.
Youth Ensemble: Dancers and singers playing young carolers, townspeople,
young workers, etc. Very active throughout show
Roles for MATURE TEENS AND
Young Scrooge: 16-25. An innocent Scrooge before he is corrupted at the
hands of Marley. A conflicted youth torn between the need for financial
security and the desire to connect with other human beings. At the
beginning, he possesses a sense of fun and humor and is a viably positive
member of society. He’s easily influenced and changeable, and though he
falls in love with Belle instantly, one year later, he spurns her just as
Bob Cratchit: 30s-50s. Scrooge’s clerk, a family man. Scrooge has worked
Cratchit to the bone, but his joy for life and affection for his family
remain untouched. Despite his difficult existence, he is still filled with
hope and humor. Though he worries about how to put food on the table, he
somehow always finds a way to provide treats for his children. He is
shattered when Tiny Tim dies and try as he might, his sorrow is impossible
to hide from his other children.
Jacob Marley: 20s-50s. Scrooge’s partner, an ambitious, practical man, with
no sentimentality. Marley is a product of a newly industrialized England and
places money and financial stability above all else. As a young man, he
coerces Young Scrooge into joining the dark and ruthless side of the
business world. When we first meet him, he has been dead for seven years,
but he should not be ghoulish. He is simply a man who has been waiting
desperately for Scrooge to open his eyes wide enough to see him and hear his
lesson. Must move well.
Nephew Fred: 20s-30’s. Scrooge's nephew. An optimistic and kind young man.
Witty and able to trade barbs with his Uncle. Should be an attractive
leading man with a slightly goofy edge.
Mr. Fezziwig: 30’s-50s. Young Scrooge and Marley’s boss, generous (to a
fault) and expansive and giddily in love with his wife. Fezziwig is a kind
hearted and jolly man, but not a fool. He has great integrity and refuses to
sell out to Scrooge and Marley.
Mrs. Fezziwig: 30’s-50’s. Ditzy, gabby, and overflowing with warmth; she is
certain that she and her daughter are great beauties. A good-hearted
meddler. In love with her husband and entirely convinced of the goodness of
those around her and the bounty of the world.
Charwomen: 20s-60s. She desperately sells the stuff dead people leave
behind. She is fiercely competitive, dreadfully funny, and wonderfully scuzzy. No subtlety whatsoever. Cockney.
Old Joe: 40’s-60s. Cockney Pawnshop dealer who trades in stolen goods –
mostly from dead people. Witty, dark and devious, Joe is a distant relative
of Dickens’ Fagin and has a bawdy sense of humor. He will take no nonsense
from anyone, unless he’s dealing it out first. A shrewd negotiator – until a
glimpse of cleavage is involved – or when faced with the child-like beauty
of a music box.
Mrs. Dilber: 20s-60s. Scrooge’s dedicated and dithering servant. Working
class British. Quirky and funny – but with great pathos. She has always
gotten Christmas Day off but, for some reason, tonight her boss is sterner
and crabbier than ever. At the end of the play, the first to witness it, she
is profoundly touched by Scrooge’s transformation. A character woman.
Comedienne with heart.
The Undertaker: 20’s-60’s. A leering, creepy, grasping, drooling example of
the underworld in Victorian England – cockney accent.
Mrs. Cratchit: 30’s-50’s. Caring but fiery, she will defend her family at
any price. She is the glue that holds her family together. Nurturing, warm,
the salt of the earth. She criticizes Scrooge more than anyone because of
what he is doing to her devoted and downtrodden husband. She tries to hide
her sorrow over Tiny Tim’s loss from her other children, but fails. Working
class London accent.
Belle: 16-20s. Scrooge’s fiancée who gets left behind because of his
obsession with money. A woman ahead of her time, Belle is fiercely
idealistic. There is a sadness about her; she holds people to high standards
and, predictably, ends up horribly disappointed with Scrooge. Must sing and
move extremely well.
Christmas Present: 20’s-40’s. Infectious spirit and warmth. Must have a
powerful presence, sense of humor, wit, and mischief, and a fabulous laugh
Christmas Yet To Come: 15-???. Tall
slender, imposing character, no dialog but excellent acting skills needed.
Adult Ensemble: A Very active ensemble of Dancers and singers playing
carolers, townspeople, etc.