Information and Audition Pack | Iona College 2022 Production

IONA COLLEGE

2022 PRODUCTION

Information and Audition Pack

Who can audition? Years 10 -12 Iona College Students

Years 10 -12 girls who attend the following schools:

Loreto College, Lourdes Hill College, Moreton Bay Girls’ College, San Sisto College

Register your interest by completing the audition form and returning by email:

[email protected]

Auditions in IPAC:

Sunday, 13th February 12pm – 3pm Call-backs: 3pm – 4pm

Please note: The casting of this production is small so not everyone may get a role. In the event you are not offered a role in The Importance of Being Earnest, you will be offered a role in

the second Iona production which will be performed in term 4.

Contents AUDITION FORM – THE IMPORTANCE OF BEING EARNEST .............................................................................................. 3

CONTACT INFORMATION – PLEASE PRINT NEATLY ...................................................................................................... 3

1. KEY DATES ................................................................................................................................................................. 5

2. REHEARSALS .............................................................................................................................................................. 5

3. PERFORMANCE DATES .............................................................................................................................................. 5

4. ADDITIONAL INFORMATION ..................................................................................................................................... 6

4.1. Levy ............................................................................................................................................................... 6

4.2. Commitments and Absences ......................................................................................................................... 6

5. ABOUT THE PLAY ....................................................................................................................................................... 6

5.1 Plot ...................................................................................................................................................................... 6

5.2 Characters* ......................................................................................................................................................... 6

6. WHAT HAPPENS IN THE AUDITION? ......................................................................................................................... 7

7. AUDITION PIECES ...................................................................................................................................................... 8

AUDITION FORM – THE IMPORTANCE OF BEING EARNEST Please complete and email this form to register.

CONTACT INFORMATION – PLEASE PRINT NEATLY

STUDENT’S SURNAME STUDENT’S FIRST NAME

SCHOOL

GRADE & HOMEROOM ie 10CEB5

AGE

HEIGHT

STUDENT Phone Numbers

Home-

Mobile-

Email Address – PRINT CLEARLY PLEASE

Parent:

Student:

Emergency Contact Person for Day of Audition Relationship

EMERGENCY CONTACT Phone Numbers

Home-

Mobile-

Are there any medical requirements or concerns you would like to make us aware of on the day of the

audition?

ANY ROLE/S IN PARTICULAR THAT YOU WOULD LIKE TO BE CONSIDERED FOR?

______________________________________________________________________________________________

PAST THEATRE EXPERIENCE:

_______________________________________________________________________________________________

OTHER RELEVANT EXPERIENCE or TRAINING:

______________________________________________________________________________________________

Do you currently have a private drama teacher? Y N Teacher’s Name: ______________________________

You are to use a copy of your 2021 school individual photograph. ++ (If there is insufficient room, please include an attachment.)

++ Print and bring to your audition. To the best of our knowledge, _____________________________________ is available to attend all rehearsals and

performances listed in this audition pack and is committed to becoming a member of the 2022 Iona Production.

Student signature: __________________________________________________________

Parent signature:____________________________________________________________

Important Information

1. KEY DATES

Tuesday, 15th February Roles released via email.

Thursday, 17th February Role acceptances due via email.

Friday, 18th February Final reminder regarding acceptance of roles will be sent via email. In the

event of no communication by this date, a decline will be assumed.

2. REHEARSALS

TERM ONE

MONTH DATE TIME

February: Friday, 18th 4pm – 6pm (Dialect coach) February: Friday, 25th 4pm – 6pm (Dialect coach) February: Sunday, 27th^ 12pm – 4pm^ ^Compulsory production

meeting for guardians. March: Friday, 4th 4pm – 8pm

March: Sunday, 6th 12pm – 4pm

March: Friday, 11th 4pm – 8pm

March: Sunday, 13th 12pm – 4pm

March: Friday, 18th 4pm – 8pm

March: Sunday, 20th 12pm – 4pm

March: Friday, 25th 4pm – 8pm

March: Sunday, 27th 10am – 4pm

TERM TWO

MONTH DATE TIME April: Friday, 22nd 4pm – 8pm April: Sunday, 24th 12pm – 4pm April: Monday, 25th (ANZAC Day) 12pm – 4pm April: Friday, 29th 4pm – 8pm May: Sunday, 1st 12pm – 4pm May: Monday, 2nd (Labour Day) 10am – 4pm May: Friday, 6th 4pm – 8pm May: Monday, 9th 4pm – 8pm (Dinner provided) May: Friday, 13th 4pm – 8pm May: Sunday, 15th 10am – 4pm May: Monday, 16th 4pm – 8pm (Dinner provided)

3. PERFORMANCE DATES MONTH DATE TIME May: Thursday, 19th (Opening Night) Call at 5.30pm, curtain at 7.00pm, finish at

9.00pm May: Friday, 20th Call at 5.30pm, curtain at 7.00pm, finish at

9.00pm

4. ADDITIONAL INFORMATION

4.1. Levy A $70 levy is required. The levies are to help cover some of the costs of your involvement; this includes contributing towards a College Production t-shirt, costuming, set-design and end-of-production celebrations.

NB: Most costuming will be provided. However, cast members may need to purchase the following: shoes, makeup essentials, undergarments, personal grooming items

4.2. Commitments and Absences Read the rehearsal schedule carefully. If you are unable to attend all rehearsals and performances, please do not audition. If you accept a role, you are entering into a long-term, collaborative commitment. These dates are non-negotiable and MUST be attended by all cast members as required. A binding commitment is made by every performer to attend all rehearsals and performances.

In case of absence: If family bereavement or sickness prevails, please email [email protected] or for Iona students, message directly the Iona College Production Microsoft Teams channel with your name and reason for absence.

5. ABOUT THE PLAY

5.1 Plot First performed in 1895 at the St James’s Theatre in London, the play is about Jack Worthing who comes to London to escape

county life under the name of Ernest. While in London, he falls in love with Gwendolyn, much to the chagrin of Lady

Bracknell. Algernon Moncrieff, Jack's friend, learns of his country life and goes to investigate. While in the country, Alger non

pretends to be Ernest and falls for Cecily. When all the lovers come together, hijinks ensue.

5.2 Characters*

*The characters’ cultural backgrounds and ethnicities are not specified; all auditionees are encouraged to audition for any role they choose.

John (Jack) Worthing A young, eligible bachelor about town. In the city he goes by the name Ernest, and in the country he is Jack — a local magistrate of the county with responsibilities. His family pedigree is a mystery, but his seriousness and sincerity are evident. He proposes to The Honorable Gwendolen Fairfax and, though leading a double life, eventually demonstrates his conformity to the Victorian moral and social standards. Male identifying.

Algernon Moncrieff A languid poser of the leisure class, bored by conventions and looking for excitement. He, too, leads a double life, being Algernon in the city and Ernest in the country. Algernon, unlike Jack, is not serious and is generally out for his own gratification. He falls in love and proposes to Jack's ward, Cecily, while posing as Jack's wicked younger brother, Ernest. Male identifying.

Lady Bracknell The perfect symbol of Victorian earnestness — the belief that style is more important than substance and that social and class barriers are to be enforced. Lady Bracknell is Algernon's aunt trying to find a suitable wife for him. A strongly opinionated matriarch, dowager, and tyrant, she believes wealth is more important than breeding and bullies everyone in her path. Ironically, she married into the upper class from beneath it. She attempts to bully her daughter, Gwendolen. Female identifying but may be played by any gender.

The Honourable Gwendolen Fairfax Lady Bracknell's daughter, exhibiting some of the sophistication and confidence of a London socialite, believes style to be important, not sincerity. She is submissive to her mother in public but rebels in private. While demonstrating the absurdity of such ideals as only marrying a man named Ernest, she also agrees to marry Jack despite her mother's disapproval of his origins. Female identifying.

Cecily Cardew Jack Worthing's ward, daughter of his adopted father, Sir Thomas Cardew. She is of debutante age, 18, but she is being tutored at Jack's secluded country estate by Miss Prism, her governess. She is romantic and imaginative, and feeling the repression of Prism's rules. A silly and naïve girl, she declares that she wants to meet a "wicked man." Less sophisticated than Gwendolen, she falls in love with Algernon but feels he would be more stable if named Ernest. Female identifying

Rev. Canon Chasuble, D.D. Like Miss Prism, he is the source of Victorian moral judgments, but under the surface he appears to be an old lecher. His sermons are interchangeable, mocking religious conventions. Like the servants, he does what Jack (the landowner) wants: performing weddings, christenings, sermons, funerals, and so on. However, beneath the religious exterior, his heart beats for Miss Prism. Male identifying.

Lane and Merriman Servants of Algernon and Jack. Lane says soothing and comforting things to his employer but stays within the neutral guidelines of a servant. He is leading a double life, eating sandwiches and drinking champagne when his master is not present. He aids and abets the lies of Algernon. Merriman keeps the structure of the plot working: He announces people and happenings. Like Lane, he does not comment on his "betters," but solemnly watches their folly. His neutral facial expressions during crisis and chaos undoubtedly made the upper-class audience laugh. Male identifying.

Miss Prism Cecily's governess and a symbol of Victorian moral righteousness. She is educating Cecily to have no imagination or

sensationalism in her life. Quoting scripture as a symbol of her Victorian morality, she reveals a secret life of passion by her

concern for the whereabouts of her misplaced novel and her flirtation with the local vicar. She becomes the source of Jack's

revelation about his parents. Female identifying.

6. WHAT HAPPENS IN THE AUDITION? After a short group warm-up, each auditionee will take turns in a closed audition to perform the monologue they prepared from the show, without interruption. The monologues are included in this audition pack. RP accent is not essential, but it is preferred (there will be dialect training during the rehearsal process). You may be given direction and asked to try a part of the monologue again or asked to read part of a different character’s monologue. You are only expected to have your chosen monologue memorised. The whole group will then be invited back into the space and paired up to do some short dialogue extracts assigned to you on the day. These are also included in this audition pack. You will have some time to rehearse this, and you may be asked to swap and pair up with different people. Whilst you are not required to memorise these pieces, you should familiarise yourself with them. An exact run-down of the day cannot be provided as it depends upon how many auditionees there are. All auditionees will receive an email throughout the week letting them know the outcome of the day and the final cast list, including understudies, will be emailed.

7. AUDITION PIECES

Monologues

(Choose ONE monologue and prepare it for the audition – must be

memorised)

Remember:

The play is full of the kind of witty humour that Oscar Wilde is rightly famed for – there is word play, sarcasm and great farcical

comedy. There are also serious issues underlying the humour – the theme of marriage, for love, for money and for social

standing, is very strong. This play is a COMEDY, but the best comedic performances come from finding the truth of the scene

and playing it as seriously as you would a tragedy. Play the truth, not the joke. Remember this as you are auditioning. Use your

imagination to perform the audition pieces as courageously as possible. Surprise us.

FEMALE MONOLOGUES

MISS PRISM –

Cecily, Cecily! Your German grammar is on the table. Pray open it at page fifteen. We will repeat

yesterday’s lesson. Child, you know how anxious your guardian is that you should improve yourself in every way. He laid

particular stress on your German, as he was leaving for town yesterday. Indeed, he always lays stress on your German

when he is leaving town. Your guardian enjoys the best of health, and his gravity of demeanor is especially to be

commended in one so comparatively young as he is. I know no one who has a higher sense of duty and responsibility. Idle

merriment and triviality would be out of place in his conversation. Mr. Worthing has many troubles in his life. You must

remember his constant anxiety about that unfortunate young man, his brother. I do not think that even I could produce any

effect on the character that according to his own brothers admission is irretrievably week and vacillating. Indeed, I am not

sure that I would desire to reclaim him. I am not in favor of this modern mania for turning bad people into good people at

a moment’s notice. As a man sows so let him reap.

GWENDOLEN FAIRFAX –

Ernest, we may never be married. From the expression on Mamma’s face I fear we never

shall. Few parents nowadays pay any regard to what their children say to them. The old- fashioned respect for the young is

fast dying out. Whatever influence I ever had over Mamma, I lost at the age of three. But although she may prevent us

from becoming man and wife, and I may marry someone else, and marry often, nothing that she can possibly do can alter

my eternal devotion to you. The story of your romantic origin, as related to me by Mamma, with unpleasing comments,

has naturally stirred the deeper fibres of my nature. Your Christian name has an irresistible fascination. The simplicity of

your character makes you exquisitely incomprehensible to me. It may be necessary to do something desperate. That, of

course, will require serious consideration.

LADY AUGUSTA BRACKNELL –

You may take a seat, Mr. Worthing. I feel bound to tell you that you are not down

on my list of eligible young men, although I have the same list as the dear Duchess of Bolton has. We work together, in

fact. However, I am quite ready to enter your name, should your answers be what a really affectionate mother requires. Do

you smoke? You don’t? I am glad to hear it. A man should always have an occupation of some kind. There are far too

many idle men in London as it is. How old are you? Twenty-nine? A very good age to be married at. I have always held

the opinion that a man should know everything or nothing. Which do you know? Nothing? I am pleased to hear it. I do not

approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit: touch it and the bloom is

gone. The whole theory of modern education is radically unsound. Fortunately, in England, at any rate, education

produces no effect whatsoever. If it did, it would probably lead to acts of violence in Grosvenor Square.

CECILY CARDEW –

You silly boy! Of course I’ll marry you. Why, we have been engaged for the last three months.

Ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of

course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much

talked about is always very attractive. I daresay it was foolish me, but I fell in love with you, Ernest. The engagement was

settled on the 14th of February last. Worn out by your entire ignorance of my existence, I determined to end the matter one

way or the other, after a long struggle with myself I accepted you under this dear tree here. The next day I bought this little

ring in your name, and this little bangle with the true lovers knot I promised you always to wear. You’ve wonderful good

taste, Ernest. It’s the excuse I’ve always given you for leading such a leading such a bad life. And this is the box in which

I keep all your dear letters. I remember only too well that I was forced to write your letters for you. I wrote always three

times a week, and sometimes oftener. The three you wrote me after I had broken off the engagement are so beautiful, and

so badly spelled, that even now I can hardly read them without crying a little.

MALE MONOLOGUES

JACK WORTHING –

I beg your pardon for interrupting you, Lady Bracknell, but this engagement is quite out of the

question. I am Ms. Cardew’s Guardian, and she cannot marry without my consent until she comes of age. That consent I

absolutely declined to give. It pains me very much to have to speak frankly to you, Lady Bracknell, about your nephew,

but the fact is that I do not approve at all of his moral character. I suspect him of being untruthful. I fear there can be no

possible doubt about the matter. This afternoon, during my temporary absence in London on important question of

romance, he obtained admission to my house by means of the false pretense of being my brother. Under an assumed name

he drank, I've just been informed by my Butler, an entire pint bottle of my Apple Cider. Continuing his disgraceful

deception, he succeeded in the course of the afternoon in alienating the affections of my only ward. He subsequently

stayed to tea, and devoured every single muffin. And what makes his conduct all the more heartless is, that he was

perfectly well aware from the first that I have no brother, that I have never had a brother, and that I don't intend to have a

brother, not even of any kind. I distinctly told him so myself yesterday afternoon. My decision is unalterable. I declined to

give my consent.

ALGERNON MONCRIEFF –

Now, go on! Tell me the whole thing. I may mention that I have always suspected you of

being a confirmed and secret Bunburyist; and I'm quite sure of it now. You have invented a very useful younger brother

called Earnest, in order that you may be able to come up to town as often as you like. I have invented an invaluable

permanent invalid called Bunbury, in order that I may be able to go down into the country if I choose. Bunbury is

invaluable. If it wasn't for Bunbury’s extraordinary bad health, for instance, I wouldn’t be able to dine with you at Willis’s

Tonight, I have been really engaged to Aunt Augusta for more than a week. I haven't the smallest intention of doing

anything of the kind. To begin with, I dined there on Monday, and once a week is quite enough to dine with one's own

relations. In the second place, whenever I do dine there I am always treated as a member of the family, and sit down with

either no woman at all, or two. Besides, now that I know you to be a confirmed bunburyist I naturally want to talk to you

about Bunburying. Nothing will induce me to part with Bunbury, and if you ever get married, which seems to me

extremely problematic, you will be very glad to know Bunbury. A man who marries without knowing Bunbury has a very

tedious time of it.

REV. CHASUBLE –

Your brother Ernest dead? Mr. Worthing, I offer you my sincere condolences. You have at least the

consolation of knowing that you were always the most generous and forgiving of brothers. Was the cause of death

mentioned? I myself am peculiarly susceptible to draughts. Will the interment take place here? You would no doubt wish

me to make some slight allusion to tragic domestic affliction next Sunday. My sermon on the meaning of the manna in the

wilderness can be adapted to almost any occasion, joyful, or, as in the present case, distressing. I have preached it at

harvest celebrations, christenings, confirmations, on days of humiliation and festal days. The last time I delivered it was in

the Cathedral, as a charity sermon on behalf of the Society for the Prevention of Discontent among the Upper Orders. The

Bishop, who was present, was much struck by some of the analogues I drew.

Cold Reading Audition Sides (Does not need to be memorised)

ALGERNON & JACK

ALGY: How are you, my dear Earnest? Where have you been since Thursday?

JACK: In the country.

ALGY: What on earth do you do there?

JACK: When one is in town one amuses oneself. When one is in the country one amuses other people. It is excessively

boring.

ALGY: And who are the people you amuse?

JACK: (airily) Oh, neighbours, neighbours.

ALGY: Got nice neighbours in your part of Shropshire?

JACK: Perfectly horrid! Never speak to one of them.

ALGY: How immensely you must amuse them! By the way, Shropshire is your county, is it not?

JACK: Eh? Shropshire? Yes, of course. Hallo! Why all these cups? Why cucumber sandwiches? Why such reckless

extravagance in one so young? Who is coming to tea? ALGY: Oh! Merely Aunt Augusta and Gwendolen.

JACK: How perfectly delightful!

ALGY: Yes, that is all very well; but I am afraid Aunt Augusta won’t approve of your being here.

JACK: May I ask why?

ALGY: My dear fellow, the way you flirt with Gwendolen is perfectly disgraceful. It is almost as bad as the way

Gwendolen flirts with you.

JACK: I am in love with Gwendolen. I have come up to town expressly to propose to her. ALGY: I thought you had come

up for pleasure? ... I call that business.

JACK: How utterly unromantic you are!

MISS PRISM & CHASUBLE

PRISM: You are too much alone, Dr. Chasuble. You should get married. A misanthrope I can understand – a

womanthrope, never!

CHAS: (with a scholar’s shudder) Believe me, I do not deserve so neologistic a phrase. The precept as well as the practice

of the Primitive Church was distinctly against matrimony.

PRISM: (sententiously) That is obviously the reason why the Primitive Church has not lasted up to the present day. And

you do not seem to realize, dear Doctor, that by persistently remaining single, a man converts himself into a permanent

public temptation. Men should be more careful; this very celibacy leads weaker vessels astray.

CHAS: But is a man not equally attractive when married?

PRISM: No married man is ever attractive except to his wife.

CHAS: And often, I’ve been told, not even to her.

PRISM: That depends on the intellectual sympathies of the woman. Maturity can always be depended on. Ripeness can be

trusted. Young women are green. I spoke horticulturally. My metaphor was drawn from fruits. But where is Cecily?

CHAS: Perhaps she followed us to the schools.

JACK & GWENDOLEN

JACK: Charming day it has been, Miss Fairfax.

GWENDOLEN: Pray don’t talk to me about the weather, Mr. Worthing. Whenever people talk to me about the weather, I

always feel quite certain that they mean something else.

JACK: I do mean something else.

GWENDOLEN: I thought so. In fact, I am never wrong.

JACK: And I would like to be allowed to take advantage of Lady Bracknell’s temporary absence...

GWENDOLEN: I would certainly advise you to do so. Mamma has a way of coming back suddenly into a room that I

have often had to speak to her about.

JACK: (nervously) Miss Fairfax, ever since I met you I have admired you more than any girl...I have ever met since ...I

met you.

GWENDOLEN: Yes, I am quite aware of the fact. And I often wish that in public, at any rate, you had been more

demonstrative. For me you have always had an irresistible fascination. Even before I met you I was far from indifferent to

you. (JACK looks at her in amazement) We live, as I hope you know, Mr. Worthing, in an age of ideals. The fact is

constantly mentioned in the more expensive monthly magazines, and my ideal has always been to love someone of the

name Earnest. There is something in that name that inspires absolute confidence. The moment Algernon first mentioned to

me that he had a friend called Earnest, I knew I was destined to love you.

JACK: You really love me, Gwendolen?

GWENDOLEN: Passionately!

JACK: Darling! You don’t know how happy you’ve made me.

GWENDOLEN: My own Earnest!

GWENDOLEN & CECILY

CECILY: (rather shy & confidingly) Dearest Gwendolen, there is no reason why I should make a secret of it to you. Our

little county newspaper is sure to chronicle the fact next week. Mr. Earnest Worthing and I are engaged to be married.

GWENDOLEN: (quite politely) My dearest Cecily, I think there must be some slight error. Mr. Earnest Worthing is

engaged to me. The announcement will appear in the Morning Post on Saturday at the latest.

CECILY: (very politely) I am afraid you must be under some misconception. Earnest proposed to me exactly ten minutes

ago. (shows diary)

GWENDOLEN: (examining diary carefully) It is certainly very curious, for he asked me to be his wife yesterday

afternoon at five-thirty. If you would care to verify the incident, pray do so. (produces a diary of her own) I never travel

without my diary. One should always have something sensational to read in the train. I am so sorry, dear Cecily, if it is any

disappointment to you, but I am afraid I have the prior claim.

CECILY: It would distress me more than I can tell you, dear Gwendolen, if it caused you any mental or physical anguish,

but I feel bound to point out that since Earnest proposed to you he clearly has changed his mind.

GWENDOLEN: (meditatively) If the poor fellow has been entrapped into any foolish promise I shall consider it my duty

to rescue him at once, and with a firm hand. CECILY: (thoughtfully & sadly) Whatever unfortunate entanglement my dear

boy may have got into, I will never reproach him with it after we are married.

GWENDOLEN: Do you allude to me, Miss Cardew, as an entanglement? You are presumptuous. On an occasion of this

kind it becomes more than a moral duty to speak one’s mind. It becomes a pleasure.

CECILY: Do you suggest, Miss Fairfax, that I entrapped Earnest into an engagement? How dare you? This is no time for

wearing the shallow mask of manners. When I see a spade, I call it a spade.

GWENDOLEN: (satirically) I am glad to say that I have never seen a spade. It is obvious that our social spheres have

been widely different.

ALGERNON & CECILY

CECILY: Oh, I merely came back to water the roses. I thought you were with Uncle Jack.

ALGY: He’s gone to order the dog-cart for me.

CECILY: Oh, is he going to take you for a nice drive?

ALGY: He’s going to send me away.

CECILY: Then have we got to part?

ALGY: I am afraid so. It’s a very painful parting.

CECILY: It is always painful to part from people whom one has known for a very brief space of time. The absence of old

friends one can endure with equanimity. But even a momentary separation from anyone to whom one has just been

introduced is almost unbearable.

ALGY: Thank you. I hope, Cecily, I shall not offend you if I state quite frankly and openly that you seem to me to be in

every way the visible personification of absolute perfection.

CECILY: I think your frankness does you great credit, Earnest. Uncle Jack will be very annoyed if he knew you were

staying on till next week, instead.

ALGY: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will

marry me, won’t you?

CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.

ALGY: For the last three months?

CECILY: Yes, it will be exactly three months on Thursday.

ALGY: But how did we become engaged?

CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and

bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who

is much talked about is always very attractive. One feels there must be something in him after all. I daresay it was foolish

of me, but I fell in love with you, Earnest.

ALGY: Darling! And when was the engagement actually settled? CECILY: On the 14 of February last. Worn out by your

entire ignorance of my existence, I determined to end the matter one way or the other, and after a long struggle with

myself I accepted you. The next day I bought this little ring in your name, and this is the little bangle with the true lovers’

knot I promised you always to wear.

ALGY: Did I give you this? It’s very pretty, isn’t it?

CECILY: Yes, you’ve wonderfully good taste, Earnest. It’s the excuse I’ve always given for your leading such a bad life.