Be Professional
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 impression.

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.

Dress Appropriately
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 banker.

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 your sequins.

Perfect Your Monologue
If you 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
Many 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.

Musical Auditions
 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 work ethic.

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.

Don’t Apologize

After the 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.



Audition Notice

Location:   The Main Street Theatre

 3018 Bordentown Avenue, Parlin

Written by John Bishop

Directed by John Correll, Jr.

The creative team responsible for a recent Broadway flop (in which three chorus girls were murdered by the mysterious "Stage Door Slasher") assemble for a backer's audition of their new show at the Westchester estate of a wealthy "angel." The house is replete with sliding panels, secret passageways and a German maid who is apparently four different people—all of which figure diabolically in the comic mayhem which follows when the infamous "Slasher" makes his reappearance and strikes again—and again. As the composer, lyricist, actors and director prepare their performance, and a blizzard cuts off any possible retreat, bodies start to drop in plain sight, knives spring out of nowhere, masked figures drag their victims behind swiveling bookcases, and accusing fingers point in all directions.

An ingenious and wildly comic romp which enjoyed a long and critically hailed run both on and Off-Broadway. Poking antic fun at the more ridiculous aspects of "show biz" and the corny thrillers of Hollywood's heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren't killed off) untangle the mystery.

Open Call Auditions: Monday 2/20 and Tuesday 2/21 at 7pm-10pm
Callbacks: Tuesday 2/28 at 7pm-10pm

Show dates: May 19 thru May 27

Come prepared with knowledge of the play and role(s) of interest. Sides will be provided.

NOTE: Contrary to popular belief, this is NOT a musical but a murder mystery farce in the style of an old 1940's Hollywood movies like "Hold the Ghost" or "The Cat and the Canary".




Character Breakdown:

Elsa Von Grossenknueten (age 50-65) F
Elsa is the owner of the mansion and is the financial backer of many musicals. Elsa summons the group together in an attempt to find out who murdered her "friend" Bebe McAllister. She is extremely eccentric, and thinks that the idea of chasing after a killer is great fun. Her grandfather was a spy, and she claims that espionage runs in her blood.

Helsa Wenzel (age 25 -40) F
Helsa is the German maid of the Grossenknueten estate. Stoic, ill-tempered and homicidal – frequently popping in and out of secret corridors with a butcher knife and a deadly fascination with Mr O’Reilly. The “real” Helsa is killed in the first scene of the play, only to be impersonated by her twin brother, Dieter. The actress who plays Helsa also appears at the end of the play as "Katrina, the cook from Koblenz." A physically demanding role, with quick changes and stage combat.

Michael Kelly (age 30 – 45) M
Kelly is an undercover cop. Elsa appeals to him to help solve the mystery of the Stage Door Slasher. Kelly's tough, no-nonsense attitude puts him at odds with Elsa and the dramatic types that visit. He is very much the “straight-man” in a houseful of eccentrics. The role is written, and typical performed, as a black male – but all ethnicities can be considered.

Patrick O'Reilly (age 30-45) M
O'Reilly claims to be an Irish tenor, but he is very suspicious, especially in regards to the mysterious Helsa. It is very much apparent that he is not all that he claims to be and is carrying a secret – actor must be able to pull off Irish, German and Bronx-Italian accents

Ken De La Maize (age 40-60) M
Ken is a "typical" director, speaking of theater as a "pure art." He also has an annoying habit of name-dropping, constantly citing the various celebrities he has worked with over the years. Everyone always claims to have seen the films he makes, only for him to reveal that they have not yet been released. He is a complete egotist.

Nikki Crandall (age 25-35) F
Nikki is considered a typical chorus girl but she is eventually revealed to be Ensign Nicole Crandall, of United States Naval Intelligence. She is engaging and quirky and likable – the prototypical all all-American 1940’s romantic-comedic heroine without an ounce of irony.

Eddie McCuen (age 30 – 45) M
A dash of Bob Hope with a pinch of Lou Costello and a sprinkle of half a dozen other low-brow 1940s comics, Eddie is the out of work comedian that is always “on” but hardly ever He is attracted to Nikki, but fumbles when he tries to talk to her. He was a replacement for an actor, and thus has no connection to Manhattan Holiday and the new production. He is the one who realizes the connection between the Slasher case and the backer party. He is cowardly by nature – but rising to the occasion when back into a corner – whether consciously or not. These brave actions unite him with Nikki. He has an obvious attraction to her, and ultimately ends up saving the day and getting the girl.

Marjorie Baverstock (age 40 – 55) F
A Broadway producer. She constantly flatters everyone around her, and speaks in elevated language; her "new word" is "divoon." Typically shallow, self-absorbed, and gaudy uptown New Yorker. She is killed at the end of the first act; strangely, no one seems to notice, despite the fact that there is an enormous sword through her back.

Roger Hopewell (age 40-65) M
Roger is the composer for "White House Merry-Go-Round", and Bernice's partner; the two have had a string of Broadway hits. Roger enjoys teasing Ken about his artistic ways, but flares up whenever someone insults his musical style. Although a “confirmed bachelor” (the PC term for 1940) he is platonic “marriage” with Bernice and is very adept to dealing with her many “quirks”. Flamboyant, and slightly effeminate, but never a gross homosexual stereotype.

Bernice Roth (age 40-60) F
Perpetually thirsty, she is Roger's lyrical other half. Bernice is very odd and emotional, frequently losing her composure and screaming. When Marjorie fails to respond to the second act opening number of "White House Merry-Go-Round", Bernice is hugely offended, despite the fact that Marjorie was dead at the time. She spends the entire second act drunk and attempting to "fix" the play, even when she is held hostage by the killer.








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