Theatre Ink Audition Packet Fiddler On The Rooftheatreink.net/fid17.pdfTheatre Ink Audition Packet Fiddler On The Roof ... We’ll talk about the vocal technique Top ... differences

Theatre Ink

Audition Packet

Fiddler On The Roof Based on Sholem Aleichem stories

by special permission of Arnold Perl

Book by Joseph Stein Music by Jerry Bock

Lyrics by Sheldon Harnick

Produced on the New York Stage by Harold Prince

Original New York Stage Production Directed and Choreographed by JEROME ROBBINS

DIRECTED

By Adam Brown

MUSICAL DIRECTION BY Chris Roppola

CHOREOGRAPHED

By Jenna Leavitt

Show Dates

March 16,17,18 at 7:30PM March 19 at 2:00PM

in the Performing Arts Center

Dear Auditioner,

Thank you for auditioning for Fiddler on the Roof. We are committed to creating a well rounded process while putting on a production that every member of our team, both on and off stage, will be proud of. We expect that all participants will give 100% dedication, teamwork, and commitment.

Our teaching and working model will give you an opportunity to grow both on and off stage and is a great way to make new friends while developing new skills! I wish you the best of luck at auditions! If you are not cast, we hope you will participate in one of the many roles backstage. Remember: “You don’t have to be in a show to be in a show!”

Adam Brown, Director of Theatre Ink

Workshops

Dance Workshop 10/25 4:00-6:00 Monologue Workshop 10/28 2:30-4:30

Vocal Workshop 10/31 2:30-4:30

Auditions

Vocal/Acting Auditions in Room 171 11/7 and 11/8 3:30-7:00

Dance Auditions in Auditorium

11/7 and 11/8 7:00-9:30

Callbacks in Auditorium 11/9 3:30-7:00

Sign-Up Process

1. Fill out online information form: https://goo.gl/forms/3jE6m9ll2VEBy94q2

2. Sign up for 1- ½ hour slot for singing/acting and 1 ½ hour dance slot on the call-board across from Room 170.

3. Fill out and bring audition card from the printed packet to your audition.

(1 and 2 above must be completed no later than 11/6.)

Questions? Taya Frishman and Rose Labadini (Stage Managers) at [email protected]

Mr. Brown (Director) at [email protected]

Directors Note from Mr. Brown

Audition Day! You will walk into the room and tell us your name, sing a song and perform a monologue. At the Dance audition you will perform the combination you learned at the workshop. For many this can feel nerve-wracking and can cause some anxiety that may prevent you from doing your best. As an actor I have gone through this! But, I know you can do it! How do you work through this? Two simple words: Be prepared! This is the most important advice for auditioning, interviewing for a job, or making a presentation. Will it guarantee you a role? No, but it will give you the confidence you need to walk into the room and feel you have done your best. In this packet you will find a synopsis, a character breakdown, and song selections from the show! Every auditioner should go to the workshops, read the play, listen to the music, and explore the story and the meaning of Fiddler . Explore what the story is about and what it means to you. What do these characters want and what are they going through in the world of this musical? This will allow you to make bold and meaningful choices in your audition. Every character has an identity and a purpose. Please do not guess what we are looking for. We want to see actors who make their own choices and enjoy their moment in the audition room. Have fun with it! Think of it as a gig where you have the privilege to perform. It is even more of a privilege for me to get to see you perform. During the audition I may give you some direction. Use that to make different choices. Remember, I am not looking for a final performance or what I think the character should be. I just want to see you relax, have fun, and enjoy playing one of these wonderful characters! Most importantly, ask yourself why you are auditioning and what you hope to get out of it. This is a big commitment and I expect every actor to be a giving team member, focused, and working hard every step of the way. I truly wish you the best during the audition process and know that we are all rooting for you! If you have any questions please do not hesitate to ask.

Choreographer’s Note From Jenna

Dance auditions consist of more than displaying your dance talent. They are another opportunity for you to demonstrate your work ethic, personality, and storytelling skills. The best way to exhibit all of these aspects is to come prepared. The audition combination will be taught at the Dance Workshop. Use this time to learn the combination to the best of your ability. Dance auditions will consist of small groups where we will review the combination a few times before auditioning the piece. In addition, I will ask for you to perform your own couple counts of 8. This allows you to show off your personality and any special skills (turns, jumps, tumbling, etc.). Each group will perform the audition piece at least two times. Remember, it’s important to execute the steps well, but ultimately I want to see YOU perform. How to prepare:

1. Wear clothes you can move in: dance attire, sweatpants, dance shoes, or sneakers. 2. Stretch: I will lead a short warm up, but it is important to stretch beforehand so that your muscles are

warm and ready to move. 3. Ask questions: The dance workshop is time to learn the choreography before you have to perform it as

your audition piece. Use it wisely. 4. Listen to your peers: Many times they may have the same question that you have. 5. Practice, practice, practice: The more confident you are with the steps, the more time you will have to

focus on actually performing the choreography and having fun with it.

If you have any questions, feel free to email me at: [email protected]

Music Director’s Note from Chris Roppola Producing good theater is hard. Make no mistake, the work we will do during rehearsals and performances

will be challenging – but if done right, it should also be fulfilling and fun. In order to do our best work, and to craft the best show possible, we must have the best auditions possible. For the production staff, this means being prepared, in sync, and knowing exactly what we are looking for in terms of vision. For the actors, it means being extremely prepared with your audition material. However, knowing the music and lyrics is just the beginning. When choosing and preparing an audition piece, think about the following:

○ Is the song appropriate for the role for which you are auditioning? ○ What character is singing the song? ○ What is the dramatic or comedic moment happening in context when the song is done during the

show? (You may need to do a little research to answer this.) ○ Will you perform the song in that way or interpret it differently?

Remember, you only have a few minutes to convince the audition panel to give you a callback. Make those minutes count!

Here are some of the things to expect at the vocal workshops:

● We’ll do some light warm-ups and talk through ideas for warming up on your own before auditions. ● We’ll talk about the vocal technique Top Five:

1. Breathe. 2. Sing through to the ends of your phrases/words/notes. 3. Know when to breathe. 4. Sing with the volume and energy you sing when you’re at home alone in your room and you

think no one is listening! 5. Breathe more .

● We’ll sing through each of the audition selections once or twice.

If you do reference a recording or video to familiarize yourself with a number, please note there are slight differences with the score and that we are doing the ORIGINAL version, NOT the revival. Also, please know that we do not expect nor want you to sing a number exactly as it is on the CD. We want to hear your interpretation of the song. To make practicing easier, accompaniment recordings will be available at http://bit.ly/NNHSFiddler by the day of the vocal workshops.

***Alternatively you may sing an audition piece of your own choosing. It should be in the style of the show, preferably ballad tempo, and around 32 bars. If the song is in 3/4 or 2/4(or cut) time you may adjust the length of the selection appropriately. Please bring sheet music for your song.*** There are four selections this year. The one you pick should be memorized for your audition. An accompanist will be provided.

Male Roles If I were a Rich Man Miracle of Miracles

Female Roles Matchmaker Far From The Home I Love

If you have any questions, feel free to contact me via email at: [email protected]

The Story

Act One

During the Prologue ("Tradition"), Tevye explains the role of God's law in providing balance in the villagers' lives. He describes the inner circle of the community and the larger circle, which includes the constable, the priest and countless other authority figures. He explains, "We don't bother them and so far, they don't bother us." He ends by insisting that, without their traditions, he and the other villagers would find their lives "as shaky as a fiddler on the roof." Three of Tevye's daughters, Tzeitel, Hodel and Chava, wonder if the matchmaker will ever find them the men of their dreams ("Matchmaker"). The matchmaker, Yente, tells Golde that she has selected the butcher, Lazar Wolfe, as a match for Tzeitel. Tevye reflects on how much he wishes he had a small fortune ("If I Were a Rich Man"). A group of villagers, including an outsider, Perchik, approaches him with news of a violent pogrom in a nearby village. Tevye invites Perchik, a young revolutionary student, to come to his home for Sabbath dinner and arranges for him to instruct his daughters. Motel, the tailor, attempts to ask Tevye for Tzeitel's hand, but gets tongue-tied. The family and their guests welcome the Sabbath ("Sabbath Prayer"). Tevye goes to meet Lazar Wolfe, the butcher, and agrees to the match with Tzeitel. A boisterous celebration ensues, involving the villagers and the Russians, who also congregate in the tavern ("L'Chaim"). As Tevye staggers home, he meets the Constable, who warns him that a demonstration is going to be planned against the Jews of Anatevka. In his inebriation, Tevye conjures The Fiddler, who plays his violin as Tevye dances his way home. Tevye appears and tells Tzeitel about her engagement to Lazar Wolfe. Golde rejoices but, after she leaves, Motel tells Tevye that he and Tzeitel gave each other a pledge to marry. After a struggle with himself, Tevye agrees to their marriage. He leaves and Motel and Tzeitel rejoice ("Miracle of Miracles"). Tevye decides to manufacture a wild nightmare ("The Dream") to convince Golde that the match with Lazar will result in Tzeitel's death at the hands of the butcher's first wife, Fruma-Sarah. Golde is so horrified that she insists on a marriage between Tzeitel and Motel. The villagers are gossiping in the street about the mix-up in Tzeitel's wedding plans. As Chava enters Motel's tailor shop, a group of Russians on the street taunt her. Fyedka, a Russian youth, insists that they stop. After they leave, Fyedka follows Chava into the shop. He tries to speak with her, but leaves quickly when Motel enters. Motel places his wedding hat on his head. The musicians lead us to the wedding. The company sings ("Sunrise, Sunset") as the traditional Jewish ceremony takes place. To the villagers' dismay, Perchik asks Hodel to dance with him, and she accepts, performing the forbidden act of dancing with a man. Everyone else follows suit. As the dance reaches a wild high point, the Constable and his men enter. They destroy everything in sight. Perchik grapples with a Russian and is hit with a club. The constable bows to Tevye and says " I am genuinely sorry. You understand?" Tevye replies with mock courtesy, "Of course." The family begins to clean up after the destruction.

Act Two

During the Prologue, Tevye chats with God about recent events. Perchik tells Hodel that he is leaving to work for justice in Kiev. He proposes to her and she accepts ("Now I Have Everything"). He promises to send for her as soon as he can. Tevye approves in spite of his misgivings. After they leave, he asks Golde if she thinks their own arranged marriage has somehow also turned into a romance ("Do You Love Me?") On a village street, Yente tells Tzeitel that she has seen Chava with Fyedka. The news that Yente has gleaned from a letter from Perchik becomes gossip for the villagers, who turn it into a song that totally distorts the truth ("The Rumor"). Tevye takes Hodel to the railroad station. She is going to Siberia, where Perchik has been sent after his arrest ("Far from the Home I Love"). The villagers are once again gossiping about a new arrival at Motel and Tzeitel's. At Motel's shop, we learn that the new arrival is a sewing machine. Fyedka and Chava speak outside the shop. She promises to speak to Tevye about their love for each other. Tevye appears, and Chava tries to talk to him about Fyedka. Tevye refuses to listen to her and forbids her to ever to speak to him about Fyedka again. Tevye returns home to learn from Golde that Chava and Fydeka have been married by the priest. Tevye says that Chava is dead to them. He sings of his love for Chava ("Little Bird"). When Chava appears to ask his acceptance, he cannot allow himself to answer her plea. Chava exits as unseen voices sing ("Tradition").

Yente is trying to fix up Tevye's remaining daughters with two boys as future husbands. The Constable brings the news that everyone in the town has to sell their houses and household goods and leave Anatevka in three days. As the villagers think of their future, they sing fondly of the village they are leaving ("Anatevka"). The family is packing the wagon to leave. Tzeitel and Motel are staying in Warsaw until they have enough money to go to America. Hodel and Perchik are still in Siberia. Chava appears with Fyedka. Tevye refuses to acknowledge her. Chava explains that they are also leaving because they cannot stay among people who can do such things to others. They are going to Cracow. Tzeitel says goodbye to them and Tevye prompts Tzeitel to add, "God be with you!" Chava promises Golde that she will write to her in America. Chava and Fyedka leave. Final goodbyes are said as Tevye begins pulling the wagon. Other villagers join the circle, including The Fiddler. Tevye beckons to The Fiddler to follow him. The Fiddler tucks his fiddle under his arm and follows the group upstage as the curtain falls.

A great resource to read in preparation for your audition:

http://www.theatreink.net/shows/2016/2016/Fiddler/td17.pdf

Character Descriptions/ Breakdown

Tevye The likeable, hard-working, pious dairyman who always tries to see the positive side of life. He is a proud patriarch and father of five daughters, closely raised according to the old scriptures. Gender: male Age: 45 to 60 Vocal range top: F5 Vocal range bottom: Ab2 Golde Tevye's strong-willed wife who wishes for her daughters to have good husbands and live easier than she and Tevye. Gender: female Age: 40 to 50 Vocal range top: Eb5 Vocal range bottom: A3 Tzeitel Tevye's eldest daughter, who is madly in love with Motel. She is loyal to her family but typically challenges the town's traditions. Gender: female Age: 18 to 25 Vocal range top: D5 Vocal range bottom: B3

Hodel Tevye's second eldest daughter, who becomes involved with Perchik. She eventually leaves Anatevka to join Perchik in Siberia. Gender: female Age: 18 to 23 Vocal range top: E5 Vocal range bottom: B3 Chava Tevye's middle daughter who loves to read. Falls in love and runs off with Fydeka, a Russian soldier. Gender: female Age: 15 to 20 Vocal range top: D5 Vocal range bottom: B3 Shprintze Tevye's fouth eldest daughter who takes lessons at home from Perchik. Gender: female Age: 9 to 13 Vocal range top: D5 Vocal range bottom: B3 Bielke Tevye's youngest daughter. Takes lessons at home from Perchik. Gender: female Age: 8 to 12 Vocal range top: D5 Vocal range bottom: B3

Yente The meddling matchmaker. She is a widow and village busybody who knows all of the town gossip. Gender: female Age: 50 to 60 Vocal range top: F5/Vocal range bottom: F3 Motel The poor and meek tailor who shares a deep love with Tzeitel. Sensitive and nervous, but sincere and friendly. Gender: male Age: 18 to 25 Vocal range top: F#4 Vocal range bottom: E3 Perchik The outspoken student and visitor to Anatevka, who constantly challenges the traditions of the town. He eventually falls in love with Hodel. Gender: male Age: 20 to 30 Vocal range top: E4 Vocal range bottom: B2 Lazar Wolf The feisty, brawny butcher and the town's wealthiest citizen who wishes to marry Tzeitel. Gender: male Age: 40 to 50 Vocal range top: F#4 Vocal range bottom: C3

Avram Runs the local bookshop and keeps the town advised of all the news in the area. Gender: male Age: 40 to 60 Vocal range top: Eb4 Vocal range bottom: D3 Grandma Tzeitel Golde's deceased grandmother, who endorses the marriage between Tzeitel and Motel. Gender: female Age: 60 to 75 Vocal range top: D5 Vocal range bottom: C#4 Fyedka A strong, young Russian soldier who sees past his military obligations and falls in love with Chava. He challenges Tevye's imposed silence. Gender Gender: male Age: 20 to 25

Fruma-sarah Lazar's Wolf's deceased first wife. She becomes enraged when her husband plans to wed Tzeitel. Gender: female Age: 35 to 45 Vocal range top: Eb5 Vocal range bottom: C4 Constable Russian military official stationed near Anatevka who knows the villagers well, however he has superficial relationships with the villagers. Gender: male Age: 35 to 45

Ensemble Villagers, Russian Soldiers Fiddler 1st Man 2nd Man Russian 1 Russian Solo Russian 2 John the Bagel Seller Woman 1 Woman 2 Yussel the Hat maker Sasha Man at Wedding 1 Man at Wedding 2 Shandel Larry the Fish Seller Woman 1 in Rumor (Sue) Woman 2 in Rumor (Carol) Man Man II-4 Man (Thom) II-7 Man (Mitch) II-7 Man (Maurice) Man (Sam) Gender: male Age: 20 to 25

AUDITION MONOLOGUES (Choose 1 Monologue and memorize for the audition)

WOMEN

GOLDE It’s almost Sabbath. When will Papa be home? All day long riding on top of his wagon like a prince. Yes, I know he works hard, but his horse works harder! And you don’t have to defend your Papa to me, I know him a little longer than you. He could drive a person crazy. Shprintza pronounced "sprinVza") , go bring me some more potatoes. Chava pronounced “haVva” V the H is guttural), did you finish milking? she sees the book Chava was reading) You were reading again? Why does a girl have to read? Will it get her a better husband? I see Yente pronounced "yenVta") coming down the road. Maybe she has good news. Go finish in the barn. I want to talk to Yente alone. Tzeitel pronounced “zVeyeVtul”), stop complaining about the kind of men Yente finds. A poor girl without a dowry can’t be so particular. You want hair, marry a monkey.

GOLDE Papa isn't up yet? Then enough lessons. We have to do Papa's work today. How long can he sleep? He staggered home last night and fell into bed like a dead man. I couldn't get a word out of him. [To her daughters] Put that away and clean the barn....Call me when papa gets up. [Sees that Tevye is finally awake] Ah, he's finally up. What happened last night, besides your drinking like a peasant. Did you see Lazar Wolf? What did he say? What did you say? Do you have news....ugh, you could die from such a man!

YENTE

Golde! Golde! I have such news for you. And not every-day-of-the-week news...Once-in-a-lifetime news! Hmm [thinking about at all the daughters] Such diamonds, such jewels. I'll find a husband for every one of them. But you shouldn't be so picky, right? Of course right! Because, after all, even the worst husband, God forbid is better than no husband, God forbid! And who should know better than me? Ever since my husband died, I've been a poor widow. All alone, no-one to talk to, nothing to say to anyone. All I do at night is think of him. And even thinking of him gives me no pleasure. But what's the use complaining? Other women enjoy complaining, but not Yente! Not every woman in the world is a Yente!

YENTE

Ah, children, children! They are your blessing in your old age. But my Aaron, may he rest in peace, couldn’t give me children. Believe me, he was good as gold, never raised his voice to me, but otherwise he was not much of a man, so what good is it if he never raised his voice? But what’s the use of complaining. Other women enjoy complaining, but not Yente. Well, I must prepare my poor Sabbath table, so goodbye Golde, and it was a pleasure talking our hearts out to each other. Oh! I’m losing my head. Of course, the news. It’s about Lazar Wolf, the butcher. A good man, a fine man, And I don’t have to tell you that he’s well off. But he’s lonely, the poor man. To make it short, out of the whole town, he’s cast his eye on your Tzeitel.

TZEITEL

A match?? The butcher? Lazar Wolf? I know you think it is a blessing, but, Papa, I don’t want to marry him. I can’t marry him. I can’t! Papa, if it’s a matter of money, I’ll do anything. I’ll hire myself out as a servant. I’ll dig ditches, I’ll haul rocks; only don’t make me marry him, Papa, please. I will be unhappy with him. All my life will be unhappy. I’ll dig ditches, I’ll haul rocks. Is your agreement more important than I am, Papa? Papa, don’t force me. I’ll be unhappy all my days.

HODEL

You don’t have to wait for the train, Papa. You’ll be late for your customers. Perchek has been arrested and convicted, but he did nothing wrong. He cares nothing for himself. Everything he does is for humanity. I know he has troubles, but what wrongs did Joseph do, and Abraham, and Moses? And they had troubles. He is in a settlement in Siberia. He did not ask me to go to him. I want to go. I don’t want him to be alone. I want to help him in his work. It is the greatest work a man can do. Papa, I promise you, we will be married under a canopy. Goodbye, Papa, God alone knows when we shall see each other again.

MEN

(Choose 1 Monologue and memorize for the audition)

TEYVE A fiddler on the roof....Sounds crazy, no? But here, in our little village of Anatevka, you might

say every one of us is a fiddler on the roof, trying to scratch out a pleasant, simple tune, without breaking his neck. It isn't easy. You may ask, why do we stay up there if it's so dangerous? Well, we stay because Anatevka is our home. And how do we keep our balance? That I can tell you in one word! Tradition!

TEVYE That was quite a dowry you gave my daughter Tzeitel at her wedding. Was that necessary? ...Anyway, Tzeitel and Motel have been married almost two months now. They work very hard. They are as poor as synagogue mice...But they are both so happy they don’t know how miserable they are. Motel keeps talking about a sewing machine. I know you’re very busy, God – wars and revolutions, floods, plagues – all those little things that bring people to You – couldn’t You take a second away from your catastrophes and get it for him? How much trouble would it be? Oh, and while you’re in the neighborhood, my horse’s left leg ...Am I bothering You too much? I’m sorry. As the good book says ... Why should I tell you what the good book says?

PERCHIK Great changes are about to take place in this country. Tremendous changes. But they can’t happen by themselves. Many people, Jew, Gentiles, many people hate what is going on. Don’t you understand? Hodel, your father, the others here, think what happened at Tzeitel’s wedding was a little cloudburst and it’s over and everything will be peaceful again. It won’t. Horrible things are happening all over the land ... pogroms, violence; whole villages are being emptied of their people. And it’s reaching everywhere, and it will reach here. I have work to do. The greatest work a man can do. Before I go he hesitates, then summons up courage) there is a certain question I wish to discuss with you, A political question. The question of marriage. And I personally am in favor of it. Do you understand?

MOTEL

Reb Tevye, may I speak to you? I would like to speak to you about your problem. I think I can help. Reb Tevye, I hear you are arranging a match for Tzeitel. I have a match for Tzeitel. A perfect fit. Like a glove. This match was made exactly to measure. Tevye shouts at Motel). Please, don’t shout at me. Tevye asks.. Who is it?) Who is it? It’s me – myself. As for being my own matchmaker, I know it’s a little unusual. Times are changing, Reb Tevye. The thing is, your daughter Tzeitel and I gave each other our pledge more than a year ago that we would marry. I have wanted to ask you for some time, Reb Tevye, but first I wanted to save up for my own sewing machine. Reb Tevye, even a poor tailor is entitled to some happiness.

FYEDKA I’m sorry about my friends Chava. They mean no harm. I’d like to talk to you. I’ve often noticed you at the bookseller’s. Not many girls in this village like to read A sudden thought strikes him. He extends the book he is holding). Would you like to borrow this book? It’s very good. Oh..why not? Because I’m not Jewish? Do you feel about us the way they feel about you? I didn’t think you would. And what do you know about me? Let me tell you about myself. I’m a pleasant fellow, charming, honest, ambitious, quite bright and very modest. Go ahead, take the book. After you return it, I’ll ask you how you like it, and we’ll talk about it for a while. Then we’ll talk about life, how we feel about things and it can all turn out quite pleasant.

LAZAR WOLF

A milk cow! A milk cow so I won't be lonesome? I was talking about your daughter Tzeitel! I see her every Thursday in my butcher's shop. And she's made a very good impression on me. A very good impression. And as for me, Tevye...as you know I'm pretty well off. I have my own house, a good store, a servant. Look, Tevye, why do we have to try and impress each other? Let's shake hands and call it a match. I will be good to her. Tevye,...I....I like her. Well?

LAZAR WOLF Tevye, this is very important to me. I’m lonesome. I’m talking about your daughter. Your daughter, Tzeitel. I see her in my butcher shop every Thursday. She’s made a good impression on me. I like her. And as for me, Tevye, as you know, I’m pretty well off. I have my own house, a good store, a servant. Look Tevye, why do we have to try to impress each other? Let’s shake hands and call it a match. And you won’t need a dowry for her and maybe you’ll find something in your own purse, too. All right! We won’t talk about money. The main thing is, let’s get it done with. And I will be good to her. I like her. What do you think? You agree? Let’s drink on it!

AUDITION CARD (Please write legibly!)

Name _____________________________________________ Email Address _______________________________________ Theatre, Vocal, and Dance Experience/Training: (Please attach résumé if you have one) _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Please list any special skills you have (turns, jumps, tumbling, etc.) _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Can you read Music? Yes No Vocal part (Circle all that apply):

Soprano Mezzo Alto Tenor Baritone Bass Do you play the Violin? Yes No Did you attend the dance workshop prior to your audition?Yes No Are you willing to dye/cut your hair for the show? Yes No Are you willing to grow facial hair for the show? Yes No Are you comfortable kissing on stage? Yes No Are you in Nitrous Oxide? Yes No Are you a Playwright for the Playwright’s Festival? Yes No Are you in Spontaneous Generation-The Improv Show? Yes No

Which roles you are most interested in?

1. ____________________ 2. _____________________ 3. ______________________ 4. _____________________ (Please note, that this does not guarantee you will be considered or called back for these roles) What roles will you NOT accept?

1. _____________________ 2. _____________________ 3. ______________________ 4. _____________________ Will you accept a role in the ensemble? Yes No Please Note: Every auditioner who is cast is expected to be in the production. If you decide not to accept or drop out after the list is posted, it will affect future casting. I want students to audition who want to do this musical and dropping out is not fair to those who could have gotten in. Of course there are extenuating circumstances that arise and will be dealt with on an individual basis.

Is there anything else you would like us to know? (Feel free to use a separate page for this)

_____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ If not cast, are you interested in working backstage on this production? Yes No If yes, what positions are you interested in? (Check all that apply)

Costumes______ Props______ Stage Crew______ Marketing______ Student Producer______ Makeup______ Hair_________

Conflicts will weigh heavily in casting .

We are looking for students who are able to commit to this process and are available for all rehearsals.You must bring this form to your music/acting audition

Don’t forget to fill out the on-line info form by 11/6 at:

https://goo.gl/forms/3jE6m9ll2VEBy94q2