Auditions

The Crescent Theatre is holding auditions for the following production(s).

Want to be involved but don’t want to act? There’s always plenty to do backstage – see our membership page for details.

Non-members are welcome but please read the notes on this page. All members must do a minimum of 3 duties within a four-month period.  New Members should do a minimum of three duties before the run of any production they are cast in…if you are considering reading for a production and you have not fulfilled your quota of duties at the time of auditioning, then it is very likely you may not be considered by the director for casting.

***AUDITION NOTICE ***

THE LARAMIE PROJECT

On October 6th 1998, Aaron McKinney and Russell Henderson robbed Matthew Shepard, beat and tortured him and pistol whipped him. Then they tied him to a fence on the outskirts of Laramie, Wyoming, set fire to him and, in freezing conditions, left him to die – which, despite being found (barely alive) and hospitalised, he did six days later.

Matthew Shepard, who was gay, was only 21 when he died.

I remember vividly hearing about the incident. Because, apart from its horror and brutality, what was extraordinary was how, in those still very early days of the internet, with “social media” literally only in its first few months, this gay hate crime story went global in only a matter of days.

It continues to this day, not least through the Matthew Shepard Foundation and the “Matthew Shepard Act” (classifying hate crimes), the passing of which President Obama announced in 2009, with Matthew’s mother standing beside him. It is also because much more has since been discovered about the incident, in particular, about Matthew himself, who may not have been the perfect poster boy originally reported and portrayed.

Nine days after Matthew’s murder, the Tectonic Theatre Company of New York made the first of its many visits over a year-long period to Laramie to start to conduct more than 200 interviews with the people who lived there. From those, “The Laramie Project” was created. It’s an extraordinary piece of verbatim theatre: every word was as spoken by the real people of the town. Pretty much all of them knew Matthew, his family and his killers in one way or another.

“Verbatim” is a style in which I have worked several times and find fascinating, because one is conscious throughout that these are real characters and that we are hearing their actual words – with all the idiosyncrasies which come with that.

“The Laramie Project”, which is one of the plays most often performed in the US, is frequently and mistakenly called ‘the gay play’. It is not a play about homosexuality, but about “the ideologies, idiosyncrasies and philosophies that formed the pillars of that culture and ruled their lives” … “about sexual politics, education, class, violence, privileges and rights, and the difference between tolerance and acceptance”. It is as relevant today as it was 17 years ago, when it premièred in Denver.

Moisés Kaufman, who led the creation of the play, said that the experience was “one of great sadness, great beauty and, perhaps most important, great revelations – about our nation, about our ideas, about ourselves.”

This is an amazing piece of theatre which presents great challenges to all members of its cast and production team, and makes many demands of them, but also offers terrific opportunities and fulfilment.

There are 67 characters – all American (but from different parts of the US) – ranging from 19 years of age to 60s/70s. The play is normally performed by a cast of four men and four women, with each playing about 8 or 9 different people across a broad age range. But it can accommodate more actors, allocating the roles differently. We will have accent coach/es!

I knew a lot about the story and was familiar with the play and am really excited by the opportunity to direct it. I am certain that the Crescent cast will do justice to, and get enormous satisfaction, fulfilment and enjoyment from bringing to life this very important piece of verbatim (and multi-media) theatre: it is as much about here and now as it is about 1998 in Wyoming. Please do put yourself forward.

Auditions

 

Sunday, 12th February (2pm-6pm)

Monday, 13th February (7.30pm – 10pm)

 

Call-backs, if required

 

Friday 17th February (7pm – 10pm).

 

Audition Process and pieces

 

Each person auditioning will be asked to perform one piece of his/her choosing without the script (i.e. learnt). This can be from any genre and should be about one minute long; the more the character is different to you, the better. Because it mirrors the style used in “The Laramie Project”, I would like you please to introduce your chosen piece with a few lines and then switch seamlessly and straight away into the piece itself. For example:

 

(As yourself) This is the opening of ‘A State of Affairs’ by Graham Swannell. We find Terence, a man in his late 30s, standing in front of a mirror, wearing only his underpants, in his expensively furnished bedroom. (Into character) “This has to stop! I mean, look at you…….. etc.”

 

Then please be prepared to read any one of the following pieces, linked/attached for your reference:

AARON KREIFELS – 19yo Man

DENNIS SHEPARD – 40s Man

DOC OCONNOR – 50s-60s Man

ZUBAIDA ULA – 20s Woman

REBECCA HILLIKER – 40s Woman

LUCY THOMPSON – 60s-70s Woman

 

There is an HBO film of the play if you want to get some sense of the accent/s. It’s at:

https://www.youtube.com/watch?v=XJczvGdXLnU

 

Rehearsals

Rehearsals will start on Friday 3rd March. Because I am prioritising choice of space, the rehearsal dates pattern is not consistent. So that we can discuss, at the audition, any availability issues, the dates are detailed here. Even though this is a multi-role ensemble piece, I will do all I can to limit the amount of time each cast member has to devote.

March: 3, 4, 8, 10, 11, 15 (tbc), 17, 18, 21, 22, 29, 31

April: 2, 4, 7, 9, 11, 12, (Easter), 19, 21, 23, 25, 26, 29, 30

May: 2nd onwards – Tech./Opening week. (Technical get-in on 1.5.2017)

Performances

The show will open, for a two-week run, on Saturday May 6th. The last performance will be on Saturday 20th May.

Rod Natkiel

Director

***AUDITION NOTICE ***

Oliver! The Musical : Adult Auditions

Announcing auditions for the Crescent Theatre’s production of Lionel Bart’s much-loved musical ‘Oliver!’ which will take place in the theatre’s main auditorium from May 27th– June 3rd 2017.

This exciting piece of musical theatre has it all: drama, interesting characters, set piece dance sequences, great songs, kids, dogs . . .

Rehearsal/Performance dates

Rehearsals generally scheduled for Monday and Thursday evenings at 7.30, Sunday afternoons 2.00, Sunday evenings 7.00

1st rehearsal Thursday 9th February.

Rehearsals will be planned to ensure that, when called, cast are fully utilised. In the early part of the rehearsal process it is not envisaged that all cast members will be required to attend all rehearsals.

Technical week beginning Sunday 21st May (Rehearsal Dates to be confirmed)

Performance Dates: Saturday 27th May – Saturday 3rd June, no performance Tuesday 30th, matinees Sunday 28th, Saturday 1st June.

Audition dates – for adults

Thursday 26th January – 7.30

Sunday 29th January – 7.00

Recalls planned for Tuesday 31st January – 7.30

Please contact Tiffany Cawthorne tiffany.cawthorne13@gmail.com to book a 10 minute audition slot for your chosen date. Alternatively, just turn up and we will slot you in at the first available opportunity.

If you are not available for either of the audition dates please contact the director to rearrange an alternative time.

List of characters

Ages, vocal ranges and descriptions are taken from the original script, and are merely an indication, included as a guideline only.

Solo singing roles

Fagin       Male (Baritone) – an elderly receiver – runs training academy for young pick-pockets

Bill Sykes Male (Baritone) – a villain in his prime

Nancy Female (Alto) – 23 years old, a graduate of Fagin’s academy, and Bill’s doll

Mr. Bumble Male (Tenor) – a large pompous man of 55

Widow Corney Female (Soprano) – a sharp tongued domineering widow, mistress of the workhouse

Mr. Sowerberry Male (Baritone) – the undertaker

Mrs. Sowerberry Female (Soprano) – his overseer

Bet Female (Alto) – a 13 year old lass, in Fagin’s establishment, idolises Nancy

Non-solo roles with speaking parts

Charlotte Female– the undertaker’s sluttish young daughter

Noah Claypole Male) – the undertaker’s pimply apprentice

Mr. Brownlow Male) – an old gentleman of wealth and breeding

Old Sally Female– a pauper

Dr. Grimwig Male– a doctor

There is potential for doubling of roles. In addition to the named adult characters we are also looking for a sizable adult vocal ensemble

Audition format

  • For named characters with solo songs/lines of songs

Please prepare and bring a song to perform, either from the show or one of similar style. Sheet music or backing tracks are both acceptable.

The MD may check your vocal range and/or ask you to sing a small, taught section of a song from the show.

Following the musical audition you may be asked to read a section of the script for an appropriate character. Script selections are available to pre-read online. These do not have to be learnt. Script selections will also be available at the auditions.

  • For named characters without a solo song/lines of song

Please be prepared to read the selected piece for the chosen character. Selections are available to pre-read online. These do not have to be learnt.

If you have an interest in being part of the vocal chorus please bring a short song, or be prepared to sing something taught by the MD, the purpose of which is to check vocal range.

  • Vocal Ensemble

Please prepare and bring a short song, or be prepared to sing something taught by the MD.

  • Recalls

Recall auditions may be required for major roles. They will involve paired readings of scenes and/or work on a particular song – both to be advised prior to the recalls.

Script selections for auditions (Click to Download)

Oliver Act 1, Sc 4 p 20/21 (Oliver, Noah)  OR   Act 1, Sc 5 p27/28/29 (Dodger, Oliver)

Dodger Act 1, Sc 5 p27/28/29 (Dodger, Oliver)

Fagin   Act 1, Sc 6 p39/40 (Fagin, Oliver) OR Act 2, Sc 3 p 74,75,76 (Fagin, Nancy, Bill)

Nancy Act 2, Sc 3 p 74,75,76 (Fagin, Nancy, Bill)

Bill Sykes Act 2, Sc 3 p 74,75,76 (Fagin, Nancy, Bill)

Mr Bumble Act 1, Sc 2 p 8/9 (Mr Bumble, Widow Corney)

Widow Corney Act 1, Sc 2 p 8/9 (Mr Bumble, Widow Corney)

Mr Sowerberry, Mrs Sowerberry Act 1, Sc 3 p13/14/15 (Sowerberry’s , Mr Bumble)

Bet Act 1, Sc 6 p41 (Read Nancy’s lines and first verse of song)

Noah, Charlotte Act 1, sc4 p21/22 (Noah, Charlotte, Oliver)

Mr Brownlow/Dr Grimwig Act 2, Sc 2 p13/14 (Browlow, Grimwig, Oliver)

For further information please contact

Tiffany Cawthorne – Director – tiffany.cawthorne13@gmail.com

Gary Spruce – Musical director – garyspruce56@gmail.com

Jackie Blackwood/Carolyn Bourne – Production Assistants – jackieblackwood1@btinternet.com

***AUDITION NOTICE***

**OLIVER! OPEN AUDITIONS FOR CHILDREN AND YOUNG PEOPLE**

The Crescent is looking for children and young people interested in being part of the Summer musical – Oliver! Please see the advert below for more information.

oliver_audition-large_72rgb

CLICK HERE for the lyrics of ‘Consider Yourself’

CLICK HERE for the Oliver/ Dodger Audition Excerpt