Title

Barefoot In The Park - March 23-24, 2018
Friday - Dinner at 6:30 p.m.; Show at 7:30 p.m.
Saturday - Dinner at 5:30 p.m.; Show at 6:30 p.m.

Upcoming Shows

2018 Shows

Barefoot In The Park

Auditions - Thursday, January, 4 2018

7:00 p.m. - 9:30 p.m. in the "Building B" Fellowship Hall

 

Barefoot in the Park is another classic comedic play by the mastermind Neil Simon. Set in New York city, Paul and Corie Bratter are newlyweds in every sense of the word. He’s a straight-as-an-arrow lawyer and she’s a free spirit always looking for the latest kick. Their new apartment is her most recent find – too expensive with bad plumbing and in need of a paint job. After a six-day honeymoon, they get a surprise visit from Corie’s loopy mother and decide to play matchmaker during a dinner with their neighbor-in- the-attic, Velasco, where everything that can go wrong, does. Paul just doesn’t understand Corie, as she sees it. He’s too staid, too boring, and she just wants him to be a little more spontaneous. Running “barefoot in the park” would be a start...


CORIE BRATTER - a free spirit, newlywed to Paul
PAUL BRATTER - a lawyer, newlywed to Corie
MRS. BANKS - Corie's mother
VICTOR VELASCO - the neighbor in the attic
TELEPHONE REPAIR MAN
DELIVERY MAN

Annie

Auditions - Sunday, April 15, 2108


2:00-6:00 by appointment


  • Annie auditions will be private auditions.  Please sign up for a time slot below.
  • Please provide a copy of your music for our accompanist.  We will provide the accompanist for you.
  • We ask that you use no recordings or songs from the show Annie.
  • If you come in with an accapella song we will ask you to sing something else with our accompanist as well.
  • Please be at your audition 15 minutes prior to your time slot.
  • If you do not complete Step 2 prior arriving you will be asked to do so before you audition.  Please allow an extra 30 minutes to do so.
  • These auditions are for all speaking lines, solos, and ensemble singers.  If you wish to just dance  or be in the orchestra, please skip to Step 2.
  • Note to parents of children auditioning for orphans - you will be required to volunteer as a youth supervisor for the orphans  (at least three times at various cast rehearsals, at least one dress rehearsal, and at least one show).  If your child is selected for an orphan role, a sign-up sheet will accompany your acceptance letter and will be conditional upon acceptance of the role.

 

Step 1:

 

Step 2:

Based on the popular comic strip by Harold Gray, Annie has become a worldwide phenomenon and was the winner of seven Tony Awards, including Best Musical. Annie features some of the greatest musical theatre hits ever written, including “Tomorrow." With

equal measures of pluck and positivity, little orphan Annie charms everyone's hearts despite a next-to-nothing start in 1930’s New York City. She is determined to find the parents who abandoned her years ago on the doorstep of a New York City Orphanage that is run by the cruel, embittered Miss Hannigan. With the help of the other girls in the Orphanage, Annie escapes to the wondrous world of NYC. In adventure after fun-filled adventure, Annie foils Miss Hannigan's evil machinations... and even befriends President Franklin Delano Roosevelt! She finds a new home and family in billionaire, Oliver Warbucks, his personal secretary, Grace Farrell, and a lovable mutt named Sandy.

Note:  Real dog will be utilized for the role of Sandy.


Annie

A street-wise orphan; she is eventually taken in by Oliver Warbucks. Spunky, friendly, big-voiced.

Gender: Female

Age: 10 to 12

Vocal range top: G5

Vocal range bottom: A3


Understudy for Annie - will preform at the Saturday noon show


Oliver Warbucks

A successful businessman with a warm heart. Rich, stiff-collared, bullish.

Gender: Male

Age: 40 to 55

Vocal range top: Gb5

Vocal range bottom: B3


Grace Farrell

Faithful secretary to Mr. Warbucks. Poised, sweet, gentle.

Gender: Female

Age: 20 to 35

Vocal range top: G5

Vocal range bottom: Bb3


Orphans: 

Molly (solo singing)

Kate

Tessie

Pepper

July (solo singing)

Duffy (solo singing)

Other orphans

The other girls in the orphanage with Annie. These girls are gritty, neglected and vulnerable, yet basically honest and potentially lovable.

Gender: Female

Age: 6 to 13


Drake

Servant/Head Butler at the Warbucks mansion. Solo singing.

Age: 20 to 50


Mrs. Pugh

Servant/Cook at the Warbucks mansion.

Age: 20 to 50


Mrs. Greer

Servant at the Warbucks mansion.

Age: 20 to 50


Cecille

Servant/Clothing Maid at the Warbucks mansion. 

Age: 20 to 50


Annette

Servant/Housecleaning maid at the Warbucks mansion. 

Age: 20 to 50


Chauffeur (no lines)


Other servants (no lines)


Star-to-Be (no lines, has short solo song)

Ethel Merman type girl who sings at the Roxy.


Miss Hannigan

The orphanage matron who hates children but is fond of liquor. Very disillusioned, bitter, and cold.

Gender: Female

Age: 30 to 45

Vocal range top: F5

Vocal range bottom: A3


Rooster

Miss Hannigan's no-good brother looking for a quick buck. A sleazy, slick con man.

Gender: Male

Age: 25 to 35

Vocal range top: G5

Vocal range bottom: B3


Lily

Rooster's girlfriend, who is also out for a quick buck. She is considered to be a floozy and bimbo.

Gender: Female

Age: 20 to 30

Vocal range top: G5

Vocal range bottom: B3


Bert Healy

The ultimate radio personality. He helps Annie by broadcasting about the search for her birth parents.

Gender: Male

Age: 30 to 45

Vocal range top: G5

Vocal range bottom: E4


Announcer (Jimmy Johnson)

Masked NBC announcer for Radio Hour.


President Roosevelt

The 32nd President of the United States. A Democrat and friend of Warbucks.

Gender: Male

Age: 40 to 60

Vocal range top: F4

Vocal range bottom: Eb3


Boylan Sisters (sing as trio)

Connie -Soprano 1 (E4-F#5)

Bonnie -Soprano 2 (C#4-D5)

Ronnie -Alto (A3-B4)


Bundles McCloskey  

The laundry man.

Gender: Male


Dog Catcher


Assistant Dog Catcher


Policeman (Ward/Lt. Ward/Officer Ward/Cop)

Gender: Male


Supreme Court Justice Brandeis

Gender: Male


Usherette

Works at the Roxy.

Gender: Female


Kid 1(of 2) kid 1 has line, kid 2 no line

Sibling in Square outside of Roxy.


Sound Effects Man (no lines)

Directs radio audience with “Applause” signs, etc.


Fred McCracken and his dummy, Wacky

Wacky is a dummy’s voice, ala Charlie McCarthy.


Producer (no lines)

NBC Radio Hour producer


Kaltenborn (pre-recorded announcement)

Radio announcer (different from up above).


Cabinet Members

Harold Ickes (solo singing)

  Perkins (duet singing)

Hull

Morganthau


Louis Howe

Marine Guard working in White House.


Hooverville Citizens

Man 1:

Man 2:

Man 3:

Man 4:

Man with paper (sings):

Eddie:

Sophie (sings):

Apple Seller:

Woman 1:

Woman 2:

Woman 3:

Woman 4:


Roxy Dancers/Group Singers

Assist Star-to-Be in Roxy show



-We are an open group.  You do not need to be a member of RUMC to become a part of Acting UP.  We actually encourage non-church members to join us as part of our mission.  ALL ARE WELCOME!


-These above audition slots are for primarily singing and reading roles.  If you are interested in a role that would highlight dancing please contact us directly.


-To be considered for any role, auditioners must be willing to commit to our rehearsal schedule and performance dates. Rehearsals are very important, and everyone in the scene being rehearsed is expected to be present (unless arrangements have been previously made).  We are dedicated to giving our audiences the very best in theatre entertainment which requires commitment of time and talent of every performer.  Everyone will not need to be at every rehearsal, just those rehearsals in which they are involved.


-Unless, you fill out the online audition form and submit your information ahead of time, please bring your personal calendar with you as you will need to indicate your rehearsal conflicts on your paperwork.  We already have a tentative rehearsal schedule and will need you to be very specific (dates and times) regarding any conflicts you may have to that schedule.


-Please note that availability for rehearsals is a huge consideration in being cast.  We will be monitoring the number of unapproved absences so it is extremely important that you put all your conflicts down on the audition calendar pages prior to your audition. We do this so that you and your fellow actors do not waste each other's time.  Each cast member is an important part of the plan and every absence creates flow issues for the entire team.


-For private auditions, please prepare a solo piece from musical theater.  You need to be prepared to sing the entire song but you will be asked to only sing approximately 16 bars of your song. Please be prepared to instruct the accompanist where you would like to start in the music.  It is ok to sing something from the show for which your are auditioning or it is suggested that you sing something in a very similar style.


-You will need to bring a copy of the music for the pianist as an accompanist will be provided for you.  You will not have any time to practice with the accompanist prior to your audition.


-Solo auditions must be accompanied by the pianist we provide (no recordings, personal accompanist [including the auditioner], or a cappella).


-Everyone auditioning needs to sing for us even if you are auditioning for just the speaking roles.


-For the private auditions you will need to schedule a time block in order to participate without a delayed wait.  Sign up blocks are available every 5 minutes. Please see the link above to select your time slot.


-Your private solo audition will include a cold reading audition.


-When it is your time to audition, stand in front of the casting directors, not beside the accompanist, to sing your song. You will probably not sing the entire song.  Be prepared for anything. We may have you sing approximately 16 bars, one minute or the song, or just the beginning and the end, etc. Your reading audition will follow your song, and once you are done you are free to go.


-If you have a conflict with these dates please contact us and we will discuss your options. All "make-up" auditions will occur PRIOR to the official audition date.


-If you are aware of anyone that would be interested in volunteering for the orchestra, backstage, costuming, & painting aspects please have them contact [email protected].




                                                                                                                          Audition Tips


The audition process can be stressful, and some people can be downright terrified at an audition. Some have sweaty palms, shortness of breath, shaking knees, or an upset stomach before and during the audition. Sorry, but there is no better way to cast a show and determine individual talents and abilities than the audition process. It is by far the best method for the casting staff to determine who is the most suited and appropriate for a certain role and how each one will fit in with others on stage.


Although there may be some anxiety when auditioning, the best way to overcome fear is preparation in all aspects of the audition process. Be ready. Remember, go into an audition and perform your best as you would be performing on stage for an audience, not for the casting staff. Enjoy the audition! Have fun! We will consider not only each individual’s voice, stature, acting, and reading, but also how all the auditioners look and interact with one another in determining the best ensemble of performers for the production. Do your best, and leave the results to God.


Please keep this in mind: The casting staff is not made up of mean, evil, sadistic people who are hoping you will “mess up.” We really want you to do well. We want you to walk in the door and be exactly what we are looking for. We are rooting for you.


Arrive at the audition 15-30 minutes early in order to fill out the audition forms and to warm up physically, vocally, and mentally to prepare for the audition. This way, the auditions can begin on time.


Your audition begins the moment you step into the room. Be pleasant, confident, and have a sweet, positive attitude with everyone.


It is important to fill out the audition form completely, and please be honest. You are given an opportunity to indicate your role preferences, but if you will only accept a certain role or roles, let us know. However, limiting the casting staff will not improve your chances of being cast in that role. Be sure to list all the dates you cannot be at rehearsals. This is also very important in the casting process.


Know yourself and the types of characters for which you are best suited. It is important to audition for roles that fit you musically and dramatically. For example, a young woman auditioning for The Sound of Music shouldn’t audition for Mother Abbess but should read for Liesl instead. Also, it is not advisable for a bass to audition for a high tenor role. Play to your strengths.


What song to sing:

-You are asked to be prepared with a “traditional musical theatre” song that shows your vocal range and ability. If you don’t have that type song, choose another song that will show your ability. Hymns, contemporary Christian songs, simple choruses, and Pop songs are usually not a wise choice.

-Any musical theater song will be accepted however, a song in the same style and/or era of the production could work to your advantage. You may perform a song from the show for which you are auditioning.

-Choose a song that fits your voice, not necessarily one that is popular or that you like. Many of today’s pop songs are designed to be sung in a microphone and, therefore, are not a particularly good choice. The song you pick should allow your voice to project without a microphone. Most show tunes are good audition pieces because they are dramatic (i.e., have built-in “actability”) and voices can be projected well.

-You will need to provide the accompanist a copy of the music in the key in which you wish to sing. If you do not know the song from memory, you will also need a copy for yourself. It would be to your benefit to memorize the song.

-Auditioners must sing with piano accompaniment only. You may not use recorded accompaniment tapes, CDs, or other instruments, and you may not sing a cappella (without accompaniment.) A professional accompanist will be provided to play for you. In the interest of time, personal accompanists may not be used.


When you sing, the casting staff will look for:

-Vocal quality. (We are looking for a “legit” clean quality, not a “pop,” breathy sound. We want to hear your vocal skills.)

-Pitch. (Does the person sing on pitch, flat, or sharp?)

-Preparation. (Does the person know the song, or is he struggling musically?)

-Appropriate song. (Does the song fit the voice musically and textually?)

-Enunciation and articulation. (Can the words be understood? Are the consonants clean and crisp?)

-Dramatic presentation. (Does the person sing with expression and communicate the text? Are the lyrics interpreted with the voice, and do they come alive?)


For most productions, basic movement and/or dance auditions are required for everyone unless you are auditioning for a role that will not require it. Bring or wear appropriate and comfortable clothing and shoes for the movement auditions. Each person will be asked to learn a few steps in combination from a choreographer and then perform them in small groups (not alone.)


Don’t get cold feet about dancing/movement auditions. Most of the time, the steps are very easy, and the casting staff just wants to see how gracefully the auditioners move, or if they move in rhythm on the beat, or even if they can know their right foot from their left foot. Look energized and exciting while moving in time with the music. When/If you miss something, keep going and keep smiling. A look of confidence and a big smile can “hide” mistakes with the feet. Even if you do the steps perfectly but are not doing something interesting with your face, or if you look like you are concentrating hard or mad at someone, instead of enjoying it, the casting staff may pick someone else with less dancing ability who looks like he or she is having fun. Make sure when the choreographer is teaching the steps that you are standing in a place where you can see. And, yes, the casting staff is watching your feet.


Don’t panic with a “cold” reading. You will have a minute to read over the scene(s) you will be reading. It is not supposed to be memorized, and others are just as unfamiliar with the material as you are. Focus on listening to what is being said and reacting appropriately, even when you are not the person speaking. Try to understand what the scene is about, who your character is, what your character is trying to accomplish, and how he or she would do it.


The casting staff wants to hear the quality of your voice, how your project, how you look on stage with other actors, how you interact with other actors, and how you portray the character. If you are given advice or direction on how to read, move, or present a certain line or scene, incorporate the suggestions to the best of your ability. The casting staff wants to see how well you take direction.


Do not apologize for your audition. Just in case the casting staff thought the audition was brilliant, don’t telegraph that you think you blew it.


If your name is not on the callback list, or if you have not been contacted to come to callbacks, you may still be cast.  Not everyone who is cast is involved in callbacks.  Sometimes the casting staff will not see everything they need to see at a first audition.  If you are not called back, it just means we saw everything from you that we needed to see. We are doing our best to not even have to do callbacks.  If you are called back you will be given a specific section of dialogue and song(s) that you will need to learn from the show.  It does not have to be memorized but we will be looking closely at how you portray the character. 


Please understand this, if you are not cast, it does not mean you are not good or that the casting staff has rejected you as a person.  We are looking for certain characteristics and qualities for each role cast.  Even the best singers, actors, or dancers may not be the “best fit” for a particular role or show.  If you are not cast, gracefully accept that you are not on the list and audition for the next show, and even offer to help with the show in some other way.


KEEP AUDITIONING!