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


Summer 2017 Youth Musical

A Musical Fable, Book by Arthur Laurents
Music by Jule Styne
Lyrics by Stephen Sondheim
Suggested by memoirs of Gypsy Rose Lee
Original Production by David Merrick & Leland Hayward
Entire production originally directed and choreographed by Jerome Robbins

Directed by Cara Ganski
Choreographed by Nikola Palivoda

Audition Dates: May 22nd & 23rd at 7:00 pm
Callbacks by invite only: May 26th at 7:00 pm

Showdates: August 11th, 12th, 13th, 18th, 19th, 20th
Fridays and Saturdays at 8:00 pm
Sundays at 2:00 pm

AGE ELIGIBILITY: Ages 14 to 23 with birthdates between August 11, 1993 to July 13, 2003

PARTICIPATION FEE: $100, includes show tee shirt and cast photo, due at orientation.

AUDITION REQUIREMENTS: Prepare 16 bars of a musical theater song, preferably in the style of the show. A piano accompanist will be provided, please bring sheet music. No recorded tracks or a cappella auditions. Be prepared to dance. Wear proper footwear and loose-fitting clothing. Bring headshot and resume, if you have them.

Rose — the Mother
June — Rose’s daughter
Louise — Rose’s other daughter, later Gypsy, the burlesque dancer
Tessie Tura — ballet burlesque dancer
Mazeppa — trumpet burlesque dancer
Electra — lightbulb burlesque dancer
Herbie — candy salesman and Rose’s manager
Tulsa — farm boy, etc. (with others)-- should be able to tap/soft shoe (sings solo all I need is the girl)
Uncle Jocko — vaudeville master of ceremonies
Georgie — Jocko’s assistant
Balloon Girl — auditioning child; non-speaking
Clarinet Boy (Clarence) — auditioning child
Baby June — Rose’s baby daughter
Baby Louise — Rose’s other baby daughter
Pop — Rose’s father
Rich Man — driver of a touring car; non-speaking
Rich Man’s Son — driver’s son; non-speaking
Tap Dancing Urchin — roadside kid; non-speaking
Little Boy Scout — another roadside kid; non-speaking
Weber — theatre manager in Los Angeles
L.A. — farm boy, etc. (with others)
Yonkers — farm boy, etc. (with others)
Angie — farm boy, etc. (with others)
Kringelein — hotel manager in Akron
Mr. Goldstone — representative of the Orpheum Circuit
Miss Cratchitt — secretary at Grantziger’s Palace
Agnes — Hollywood Blonde
Marjorie May — Hollywood Blonde
Dolores — Hollywood Blonde
Thelma — Hollywood Blonde; non-speaking
Gail — Hollywood Blonde; non-speaking
Cigar — theatre manager in Wichita
Pastey — stage manager in Wichita
Offstage Announcer — introducing Gypsy across the country
Renée — Louise’s maid
Phil — Louise’s press agent
Bourgeron-Cochon — photographer

Please email the director at with any questions.






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