|Last Name||First||GR||Part||Group 1||Group 2|
Before you audition read…
Everyone that is auditioning for the play will be asked to read from the script and sing a song selection.
Ř If you are auditioning for a CHORUS ONLY(singing- no lines) please prepare the song “Put On A Happy Face”.
Ř If you are auditioning for a or NON-LEAD SPEAKING ROLE (small speaking role and singing) please prepare the song “Put On A Happy Face” and lines from the script that fit your gender. (boys read boy lines- girls read girl lines)
Ř If you are auditioning for a FEMALE LEAD, please prepare the songs “Put On A Happy Face” and “One Boy”. Also prepare any female lines from the script.
Ř If you are auditioning for a MALE LEAD, please prepare the songs “Put On A Happy Face” and “One Last Kiss”. Also prepare any male lines from the script.
MOST COMMONLY ASKED QUESTIONS ABOUT AUDITIONS & CASTING A MUSICAL
Is the show pre-cast? Does the Director know who he/she will cast before auditions?
No. The musical is chosen based on appropriateness of the show and the size of the cast that there can be. A Director looks for musicals with: a variety of principal and supporting roles; one or more chorus groups as well as something different from the previous musical, hopefully. A Director will also need to base a decision on the ability, talent and interest of the existing student body.
How can I get the role I want?
• Do everything you can to show the Director that you can fill this role.
• Speak/Sing with WITH EXPRESSION-a smile usually works
• PRACTICE so that you can avoid staring down the paper for the words.
• Make EYE CONTACT with the Director and/or LOOK OUT to the audience when you sing
• Use GESTURES with your body-hands, arms, head, eyes, etc.
• ACT CONFIDENT –pretend that you are not nervous or afraid to be on stage by yourself.
• Observe other students when they audition-what impresses you or what would you improve.
Take those observations and incorporate them into your own audition.
• You may also consider researching the show through videos, cassettes or cds as well as online to get a better idea how the character may sing or speak. Here is the website that we get our music from that has a description of the show.
The above are ONLY suggestions. Nothing is guaranteed. You are still competing with other students of varying degrees of talent and experience but these suggestions will help you to put your best foot forward and to stand out from the rest of the students.
How do the Directors assign the roles to students?
There are many things a Casting Committee takes into consideration when assigning roles.
• Ability to sing and/or sell a song to an audience on your own
• Ability to act
• Ability to speak clearly and with volume
• Behavior at auditions- followed directions, was helpful, respectful of others auditioning, honest, a good leader, etc.)
• Behavior during rehearsals and performances of previous production(s)
• How the student works at school and rehearsals
• Is the student a leader and a good role model?
• Attendance at school and, if applicable, at past rehearsals for other shows
• Conflicts with the rehearsal schedule (detentions on a regular basis with a teacher, sports/cheerleading practices, dancing/piano lessons, etc.) Be honest with your conflicts at auditions and the Director will try to work around them when creating the rehearsal schedule.
Why didn’t I get the part I wanted?
It may be one or a combination of the above. A Director’s main task is to take the talent of each student that wants to participate and use that talent for the good of individual student and the production as a whole -from the principal role to the chorus role. A Director must coordinate and match the members of the cast so that they are balanced and feel comfortable as well as be able to present the story to an audience with direction.
What will I do if I am not assigned a principal role?
You will be assigned to the ensemble (chorus). The Chorus is a very important part of any production as they bring the musical to life with choreography, volume and how they react to the dialogue and situations on stage. A WISE Chorus member will pay attention to the principal roles’ dialogue and blocking and learn those parts as well. If there is ever a problem and a principal actor cannot perform, a Director tends to look for someone within the Cast to fill the role.
Conrad: Rock Star with a rock star attitude-getting ready to leave for the Army.
Albert: Conrad’s agent, a little obsessive
Rosie: Albert’s secretary and love interest
Mrs. Peterson: Albert’s very overprotective mother
Mr. MacAfee: Kim’s father, very set in his ways
Kim: Teenager who is rather self centered.
Downstairs in the MacAfee house. As ROSIE starts downstairs, noise is heard outside and CONRAD starts in the front door, followed by ALBERT and MRS.PETERSON..all babbling.
…for the last time, Albert, I’m okay and I don’t feel like getting into bed! Now leave me alone!
Conrad, be reasonable! You’ve had a severe shock and the best thing to do is get upstairs and ---
(He turns to point to the stairs and sees ROSIE)
…Aha! There she is! The traitor that stabbed me in the heart while my back was turned!
(trying to get past him)
Get out of my way, Albert.
(Moving to stand between them)
Be careful, sonny! She may be armed!
(By this time, CONRAD has grabbed a can of beer)
I can handle her, Mamma.
(CONRAD goes to stairs opening can of beer, it squirts up in the air)
You go upstairs with Conrad and see that he gets into bed!
(Mrs. Peterson starts up stairs after CONRAD)
Wait for me, Conrad! I’ll make you a nice hot cup of terramycin.
Albert, for the last time, will you let me by! I’m going on the town tonight, and I don’t want to waste another minute!
(quickly closing the front door)
Not until I’ve had my say, Rose. I just want to let you know that thanks to Mamma’s quick thinking, the kiss will take place after all. Tomorrow morning at the railroad station just before Conrad leaves…
(very satisfied with himself)
…so it looks like you’ve failed, Rose. As anyone must fail who tries to buck Al Peterson, one of the giants, the titans, one of the King Kong’s of the music industry…
SONG- “WHAT DID I EVER SEE IN HIM”
…An Empire builder! A Colosseus!
(and Rosie has had enough)
Out of my way…you defrocked English teacher!
(and she lets him have it in the arm with a suitcase “OUCH” he yells as ROSIE strikes out the door)
(ROSIE hurries as ALBERT limps after her and bellows off through the window)
Rosie, come back! Son you hear me? This is King Kong calling! Rosie, Rosie, I need you. Rosie, please come back!
(as MACAFEES and RANDOLPH enter, ALBERT’S tome immediately changes)
…and I don’t care how you plead and beg, Miss Alvarez, you’re through here at Almaelou! Not only do I accept you resignation, but furthermore, you’re fired. And just remember one more thing. Sticks and stones will break my bones but names will never harm me. You big rat.
(as he starts back from the window)
Sorry to do this in front of you, folks, but I’ve had to let Miss Alvarez go.
I’ll get that.
Probably Hong Kong again.
(picking up the phone)
Hello, this is Albert Peterson speaking! I’m sorry, Mr. Lewis, but Miss Rose Alvarez is no longer with us. That’s right…
(Through the last, KIM, clutching a heavy suitcase, as appeared at the head of the stairs. The following is interspersed as she starts down and ALBERT continues on the phone in pantomime)
…Miss Alvarez! Wait for me! I’m coming!
And where do you think you’re going, young lady?
With Rosie! To drain deep the dregs and sip full hearty the brimming cup. To live!
(Then bursting out)
…Do you hear me? I said…
Miss Alvarez was right! You’re all the same. From puberty to Mussolini…
…What’s that? You dare to say “puberty” in front of your own father? Not to mention Mussolini? Doris…we’ve failed as parents!
(he falls into MRS. MACAFEE’S arms)
I never asked for much from my children. Just respect. A little respect. That’s all I asked for. Respect. But did I get respect? I did not get respect. I got no respect.
I respect you, Pa.
I don’t want your respect! You’re a child. What good is respect from a child! Doris, take me upstairs, I’m not a well man…
(as they start up)
…certain words I didn’t want to hear in this house. Puberty was the first… and Mussolini was the second…
(as they disappear)
And respect was the third…
(still on the phone)
…Now look here, Mr. Lewis, no three-cent reporter can bulldoze me! I happen to be Albert J. Peterson and you can print that in whatever cheap paper you happen to represent!
It’s not a paper, it’s a magazine.
And it’s not Mr. Lewis…(softly) It’s Mr. Luce.
(Then with a wail as he hangs up)
…Rosie, I need you!
(from the head of the stairs)
Sonnyboy! Where are you going?
Nowheres, Mamma. Just out. It’s stuffy in here so I though…
…to look for Rosie, Mamma! I love her and I want her back!
Is that all? I thought it was something serious. By all means, sonny, find your Lady of Spain and bring her back here.
(she crosses into the kitchen)
And by the way, dear, when you get back be sure to stop in the kitchen, take my head out of the oven, and turn off the gas…
(she has turned on gas, now gets down on her knees and calmly sticks her head in the oven)
(crossing over and pulling her out)
(stopping to turn off gas)
It’s a strange house. I don’t want to run up a bill.
Mamma, I’ve had enough of this! If you really loved me, you’d help me find Rosie before it’s too late. Don’t you realize what’s happened? The poor girl’s gone out to make up for all the years she wasted on me. Who knows what low dive she’s in at this very moment.
Oh, sonny, you’re right! I’ll help you find her. Only maybe I better give you the message from Conrad first…
Nothing to worry about, darling. He just says he’s going out tonight and he doesn’t think he’ll get back on time to kiss Kim tomorrow…
Mamma, why didn’t you tell me this before!
I tried to, darling sweetheart, but you kept bringing up a certain party from South of the Border.
I don’t know what’s the matter with him! He knows how much this means to me! Conrad! Conrad!
Take it easy! I’m coming…
(and CONRAD, dressed in tight jeans, leather jacket, and boots, starts downstairs)
…and before you start hollering, Albert, I just want you to know I made up my mind! I’m tired of getting up at nine every morning, having people watch me when I eat, and letting kids poke me in the eye. I wanna have some fun! Go out! Meet a couple of young chicks! Don’t you understand, Albert. I am tense!
Mamma, don’t just stand there! Do something!
(planting herself sexily in front of the door)
Conrad, did you ever think in terms of a more mature woman?
(she shows a bit of shoulder)
Man, I hope I never get THAT tense!
…now look, buddy boy, this is my last free night before I go into the Army, and I am going OUT!
You can’t go out without my permission! It says so in your contract! Mamma, get the contract. It’s in my… Never mind, I’ll get it myself.
(as he charges upstairs)
…Conrad, you stay right here!
Act One Scene 3 (Female Roles Only)
As lights come up we see Ursula Merkle, a hyper-enthusiastic young lady of 15, sitting in a window talking excitedly on the phone.
…Kim MacAfee, what do you mean you’re resigning for the Fan Club! I mean just because Hugo Peabody gave you his pin doesn’t mean you have to retire from all social life! Going steady is very important but there are some things more important than very important and the Conrad Birdie Fan Club is one of them.
I mean, after all, where else can we girls gather together to worship that wonderful creature? I mean, do you realize what you’d be giving up, Kim?
(the MACAFEE house is moved, the scrim is up and we see KIM in her upstairs bedroom. House is a two-story affair, bedroom upstairs, combination family room and kitchen downstairs. KIM is a month or two older than URSULA, very pretty, quite self-possessed)
I’m sorry, Ursula, but my mind’s made up. Of course, I’ll still play his records, but things like the Pledge and the Conrad Birdie Scream are past me now.
You’re giving up the scream? You mean when Conrad Birdie sings, on television, you’re not going to go AAAAAAAAAAAAAAA (piercing scream)!
(downstairs, MRS. MACAFEE has crossed and lifted the telephone through the last of above. She now puts it down and calls upstairs.)
Kim Dear, would you please get off the phone. I’ve got some calls to make.
(calling down to her)
All right, Mother!
(Then back into the phone)
Sorry, Ursula, I’ve got to hang up. You’ll explain everything to the other kids, won’t you?
I suppose I’ll have to. ‘Bye Kim…
(she hangs up. Kim hangs up. Ursula leans out the window)
…Kim, are you sure? I mean after all! I mean really, Kim, are you absolutely sure?
(also leaning. They evidently live next to each other)
Positive. After all, I’m fifteen years old and it’s time I settled down.
HOW LOVELY TO BE A WOMAN
…Kim, there’s a call for you. The operator said she’s been trying to get through for nearly three-quarters of an hour!
(gets up. Puts on slippers behind bed so audience does not see them)
Thank you Doris. I’ll take it down there.
She said it was long-distance and I can’t imagine who…
…What did you say?
(as she starts downstairs)
I said, thank you Doris.
(we see her clearly now and notice that she is wearing those enormous shaggy pink fur scuffs)
…There’s no need to look so upset. It’s modern to call your mother by her first name. It makes the mother and daughter more like pals.
And your father?
I’ll call him Harry, naturally.
(MR. MACAFEE looks up fro paper, mutters “YEAH”, then laughs mirthlessly)
…By the way I think Harry took the news about Hugo and I awefully well, don’t you, Doris?
(Mrs. MACAFEE has to sit down. Meanwhile KIM has gone to the phone)
…This is she. Yes, I’ll wait.
I don’t know. Yesterday I was a mother. Today I’m a pal.
(gets up and heads for the stairs)
…Are you sure you wouldn’t like to call me Mom? That’s modern.
I’m sorry, but times are changing and you’ve got to go along with them or be left behind with the old folks!
(MRS.MACAFEE hurries upstairs, trying to hold back a sniffle. MR. MACAFEE has risen from stool in kitchen, put down his newspaper and crosses to KIM)
I’m not an old man!
…I was eighteen in World War II.
(and he exits. KIM has been listening on the phone through this and as MR. MACAFEE exits we see her expression change from that of a poised woman to a dazed child. She slowly puts down the phone. Then in a very small voice…)
Conrad Birdie…is coming here… to kiss me?
(a bit louder)
(grabbing Kim in her Arms)
…Baby, what is it?! What’s Wrong?!
It’s Conrad Birdie, Mommy! He’s going to kiss me!
That’s nice, dear. Now you just put your head on Mommy’s shoulder.
(they sit on the steps)
You don’t understand! Conrad Birdie is coming her to Sweet Apple to kiss ME goodbye! Oh, Mommy, Mommy!
I never thought I’d say it…But God Bless Conrad Birdie!