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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
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
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
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
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".
Elsa Von Grossenknueten (age 50-65)
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
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.