If your New Years resolution had to do with appearing onstage in a community theater production, this is a great month to work on that. The Miami Valley is lucky to host numerous theaters companies around town and one of these roles just might be hand picked and waiting for you! The following seven shows are holding auditions this winter for upcoming shows:
On Stage Dayton Auditions
Kids, spend an afternoon The Human Race Theatre Company’s Creativity Center and you will be transported into the imaginative world of theatre. Each week will be designed to introduce a new skill or theatrical area. Develop your skills in improvisation, explore stage makeup technique, write a dramatic script, choreograph a new dance, act out your favorite myth or tall tale. Learn monologues, rehearse scenework and participate in mock auditions. And best of all, make new friends! Healthy afternoon snacks will be provided. This activity is for kids ages 8 – 13.
Cost: $15 pre-reg/$18 at the door
Washington Township’s Town Hall Theatre will hold auditions for it’s spring production of SEUSSICAL JR on January 4th beginning at 1pm and January 9th beginning at 4pm. The theatre for young audiences will cast children in grades 2 up to adult for some roles. The show will run March 7 – 23rd.
Registration for auditions is online. Please do not call the box office to schedule auditions. You will receive an email confirmation with your date and time. We cannot guarantee your choices for audition dates and times, however we will try our best to provide one of your three choices.
PLEASE NOTE: Registration for auditions scheduled on Saturdays must be received by 6pm on the Thursday before the audition. Our box office is closed on Fridays.
Playhouse South in Kettering is holding auditions for Hamlet by William Shakespeare, directed by Jen Skudlarek, on January 6th & 7th at 7pm, with callbacks on January 8th. The performances are on February 28, March 1, 2, 7, 8 at 8:00 pm and March 2 at 2:00 pm. They will be doing cold readings from the script. Please bring any conflicts you may have to auditions. They are looking for 16-20 people, with a minimum of 7 men and 3 women ages 16 and up. If you have any questions, feel free to contact Jen Skudlarek at [email protected]
The horrors and wounds of war pervade the homefront in Donald Margulies’ gripping 2010 Tony Award-nominated drama “Time Stands Still,” a compelling character study about relationships, career and worldviews currently receiving an excellent local premiere at the Dayton Theatre Guild.
Living “on the sorrow of strangers,” accomplished photojournalist Sarah Goodwin (a dynamically passionate Cassandra Engber) returns from Afghanistan physically and emotionally scarred having survived complications from a roadside bomb. However, recuperating inside her Brooklyn loft (marvelously designed with eye-catching personality by Blake Senseman) becomes problematic when her longtime live-in boyfriend/freelance writer James Dodd (an effortlessly firm Alex Carmichal) disagrees with her decision to take on another assignment nearby. Encouraged by her editor Richard Ehrlich (an affable David Hallowren) and his sunny younger girlfriend Mandy Bloom (a top-notch Kelli Locker), Sarah feels comfortable about stepping back behind the camera to aid a worthwhile story. But it’s not just the assignment causing friction for Sarah and James. The real turbulence stems from Sarah’s romantic indiscretion in Afghanistan with her interpreter Tarek, a revelation that smoothly propels Margulies’ thought-provoking tug of war to heartbreaking degrees.
Having recently seen the magnificent Broadway revival of Tennessee Williams’ “The Glass Menagerie,” I’m reminded of how powerful it is for a playwright to create a silent character who lingers in the mind while serving as a launching pad for conflict. Amanda Wingfield and her troubled offspring are forever encumbered by the painful memories of the unseen husband and father who “fell in love with long distance.” In Margulies’ equally dysfunctional exploration of memory, Tarek is the invisible catalyst that rips Sarah and James apart although he isn’t entirely to blame. It’s totally apparent the duo may not have been perfect for each other in the first place. Prone to bickering and misreading, Sarah and James seem to be part-time soul mates. James wants kids and marriage. Sarah, deep down on the inside, prefers adventure and independence. They want to make their relationship work, but it’s not borne of a healthy desire to be fully compatible. Even when Sarah ridicules James for wavering in his writing pursuits she takes on the persona of a scolding mother. I’m sure the duo longs to be happy and values the idea of being together forever, but without the ability to recognize each other’s faults and be absolutely supportive their relationship will continue to disintegrate into a series of dead ends.
Splendidly guided by director Debra Kent, Engber and Carmichal, who should be among the first actors to receive resident artist status if the Guild ever chooses to go that route, are utterly captivating and combative. Engber, just as good as Laura Linney who originated the role, particularly impresses while professing Sarah’s Act Two agony of remaining true to her profession as death and decay literally stare her in the face. Carmichal, astutely emphasizing James lackadaisical, slacker qualities, rises to the occasion with volatile verve early in Act Two as a drunk James erupts while arguing with Mandy. Hallowren effectively engages as the underwritten yet concerned Richard. Locker discovers meaningful layers within the seemingly naïve Mandy instead of resigning the character to a one-dimensional existence.
Additionally, Kent’s exemplary creative team includes lighting designer David Corson, costumer Linda Sellers, prop masters Senseman and Deidre Bay Root, sound designer K.L. Storer, and makeup/wig designer Patrick Hayes. What a specific pleasure it is to know this production involves Corson, a University of Cincinnati-College Conservatory of Music student whose phenomenal lighting of Centerville High School’s “Sweeney Todd” last season ranked on par with the best lighting designs on Broadway. Corson’s contributions are more subtle here, but his decision to open certain scenes with illuminated laptops is a wonderfully contemporary, introspective touch. Also, Senseman and Root sprinkle Sarah and James’ loft with a vivid assortment of artifacts as well as a mounted bicycle and a weather trunk as a coffee table. Storer is particularly responsible for compiling one of the best soundtracks I have heard at the Guild to accompany scene changes.
“We’re supposed to capture the truth – not stage it,” says a defiant Sarah in defense of her career. Thanks to the Guild, the truth has never felt so real.
“Time Stands Still” continues through Oct. 20 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m.; Saturdays at 5 p.m. and Sundays at 3 p.m. Act One: 55 minutes; Act Two: 53 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org
In the words Shang Tsung, that great video-game philosopher, “It has begun!” Granted, in his case, he was referring to the tournament “Mortal Kombat,” but in this case we’re discussing the just-as-exciting and more-correctly-spelled 2012-2013 Dayton Theatre Season. Thats right, the long, dry summer is over and while the long, dry, fall may just be starting, you’ll experience no lack of reason to get out to our local area theatres. Especially in the coming fortnight. Here’s what you have to look forward to!
…BLINK AND YOU’LL MISS IT
La Comedia Dinner Theatre
The Skinny: La Comedia’s production of this candy-colored musical using Dr. Seuss characters takes its final bow this weekend. A sure-fire, family-friendly crowd-pleaser!
Dates: Seussical closes on September 2nd.
Tickets: All information, including ticket reservations and the current menu, is available at La Comedia’s informative website: www.lacomedia.com
…CONTINUING THIS WEEK
Dayton Theatre Guild
The Skinny: DTG’s season opener about a world-class male string quartet, and their controversial decision to bring on a female member, closes this weekend.
The Dates: Friday, Saturday and Sunday through September 9. Bear in mind, Guild 2nd and 3rd Saturdays are always at 5:00 pm. Sunday matinees are 3:00 pm.
Tickets: Ticket reservation and purchases can be made online at www.daytontheatreguild.org
The Human Race Theatre Company
The Skinny: The Human Race opens its season with this new comedy about silver-aged love and late-life sexiness.
The Dates: Managing Maxine opens on September 6th and runs through September 23rd.
Tickets: All information can be found at the Human Race website, www.humanracetheatre.org
Side By Side By Sondheim
The Skinny: This 1977 Tony Award-winning musical is a revue of songs written by the patron saint of American Musical Theatre, Stephen Sondheim.
The Dates: Side By Side… opens on September 7th and runs 2 weekends, closing September 16th.
Tickets: Tickets are available online at www.daytonplayhouse.com
Beavercreek Community Theatre
The Skinny: BCT’s season opener is an ensemble piece about an audience watching the most reason offering by a struggling playwright who is, lets just say, not having the best night.
The Dates: Musical Chairs opens September 7th and runs through September 16th.
Tickets: Tickets are available online at www.bctheatre.org
Brookville Community Theatre
The Skinny: This delightful “backstage” farce is a perennial favorite among actors and audience members alike. It takes place during the stressful rehearsal and disastrous road-tour of a production of the fictional comedy “Nothing On.”
The Dates: Noises Off runs two weekends, opening September 6th and closing September 16th.
Tickets: Reservations are highly recommended and can be made by calling the Brookville Flower Shop at 937.833.3531
Playhouse South will hold auditions for its season opener, Legally Blonde, on September 4th and 5th at 7:00, with callbacks on the 6th. Auditioners are asked to bring a one minute song from a current Broadway musical, not from Legally Blonde, preferably upbeat and rock/pop style. Be prepared to dance, and do cold readings from the script. There will be a CD player and accompanist provided. Bring a list of schedule conflicts through November 19th. Please contact Jim Brown at [email protected] with questions or concerns.
I think that just about wraps it up for now. I’ve said before, and I’ll repeat, I’m super-excited about the upcoming theatre season and I hope you are, too. And if you’re not, I hope I can help get you excited. Live theatre is just so accessible and so great. And there’s no dearth of it right here in your little Gem City. ’til next time!
The Dayton Playhouse will hold auditions for it’s annual “FutureFest” new play festival on the following dates: Sunday, June 3 at 2 p.m. (all plays, except Provenance), Monday, June 4 at 7 p.m. (all fully staged plays), and Tuesday, June 5 at 7 p.m. (all staged readings).
FutureFest is a festival of previously unproduced plays, which have been submitted from playwrights across the United States. Hundreds of submissions are read and the top six are selected to be performed at the festival. Playwrights of these plays will attend the festival, as will five adjudicators from across the country. Three plays will be performed as staged readings and three will be fully staged over the 3-day festival. Feedback will be given by adjudicators and audience members and a festival winner will be selected. This year marks the 22nd “FutureFest,” which is the largest new play festival in the country sponsored by a community theatre.
The finalists in this year’s “FutureFest” include:
A Political Woman, Directed by Cynthia Karns (fully staged)
Provenance, directed by David Shough (staged reading)
Nureyev’s Eyes, directed by Annie Pesch (staged reading)
Curve, directed by Jim Lockwood (fully staged)
Excavation, directed by Nancy Campbell (staged reading)
This Rough Magic, directed by Gayle Smith (fully staged)
Auditions will consist of cold readings from the scripts. Full cast information is available at www.daytonplayhouse.org.
Auditions will be held at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton, OH 45414. Those auditioning should bring a list of any scheduling conflicts through July 29. Rehearsals are typically in the evening, or on weekends.
FutureFest performances will be July 27-29. To purchase tickets to the festival visit www.daytonplayhouse.org, or call the Dayton Playhouse box office Monday, Wednesday or Friday from 2–5 p.m. Weekend passes are $95 to see all shows and go on sale June 4. Individual show tickets will go on sale July 2nd.
The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for “FutureFest,” a festival of new plays.
Encore Theater Company announces open auditions for TWO upcoming productions –35MM (a new musical in development as part of The Human Race Theatre Company’s Festival of New Musicals – August 2012) and the regional premiere of BLOODY BLOODY ANDREW JACKSON (Fall 2012). Both productions will take place Downtown Dayton.
“ETC is pleased to once again join forces with The Human Race with 35mm with music by Ryan Scott Oliver – one of the most exciting new voices in musical theatre.,” says David Brush, ETC artistic director.
AUDITION: Video Audition Submission submitted electronically
DEADLINE for video submission: JUNE 1, Midnight
CALLBACKS: June 12, 7PM (Callback if needed)
Email [email protected] with the following info & attachments
1) Name (as you would wish it to appear in print),
Age, Sex, preferred Phone & Email Address, Title of audition selections.
2) Current Performance Resume (attachment)
3) a Digital Video File Audition as described below, or a link to the video
uploaded on a hosting website (YouTube, Facebook, etc ).
VIDEO MUST CONTAIN:
1) At the beginnning of the video, please slate (“Hello, my name is … & I will
be performing …”)
2) Sing a 32-bar/2-minute selection from contemporary musical theatre or a
current pop/rock song. While a cappella performances are acceptable,
preference is for live or vocals-free pre-recorded accompaninment.
3) An approximate 1-minute monologue from a contemporary theatre piece.
They say a picture is worth 1,000 words, but what about a song? Can one picture inspire a song? How about fifteen photos? In 35MM, each photo creates a different song completely disconnected from the other creating fifteen different and unique moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. This stunning new multimedia musical explores a groundbreaking new concept in musical theatre. With music and lyrics by Ryan Scott Oliver (Composer of Disney Theatricals’ upcoming stage musical Freaky Friday) and the contemporary photography of Matthew Murphy, this intricately woven collection of stories told through song re-imagines what the modern American musical can be.
AUGUST 3-4, 2012 – The Loft Theatre
(Rehearsals – Evenings, July 2012)
Seeking 3 men (baritone and tenor) and 2 women (alto, belty mezzo) – pop rock voices
BLOODY BLOODY ANDREW JACKSON tells the story of America’s first political maverick. A.J. kicked British butt, shafted the Indians and smacked down the Spaniards all in the name of these United States–who cares if he didn’t have permission? An exhilarating and white-knuckled look at one of our nation’s founding rock stars, BLOODY BLOODY ANDREW JACKSON recreates and reinvents the life of “Old Hickory,” from his humble beginnings on the Tennessee frontier to his days as our seventh Commander-in-Chief. ETC is pleased to present this premiere FRESH from Broadway and perfect for election year!
October/November 2012 – Location TBD
(Rehearsals – September/October 2012)
A roguish, man’s president. Deeply charming and sexy, so much so that you somehow don’t mind he’s a violent, arrogant, bigoted idiot. Fights passionately for what he believes in. Personifies “strong but wrong.” Ages throughout the show so should be able to play young. Must be adept at deadpan comedy. Guitar-playing a plus.
20s-Early 30s Up to a G belt High baritone rock
Dark and dangerous.
Late teens – 20s.
Native American chief. Intelligent, somber, with a hint of danger. Used to work alongside Jackson, an alliance that led him to tricking and betraying other tribes for Jackson. By the end of the show, he’s forced to beg his friend for mercy. Doubles as other roles, usually with Clay or Calhoun. Mid 20s-Mid 30s
Sings “Ten Little Indians”; Self-confident, attractive singer with powerful, emotive indie rock voice. Dark, mysterious, hip vibe. Doubles as other roles. Think Dresden Dolls, not musical theater. 20s Up to Bb Alto
A backwoods version of Calhoun’s villainous senator. Think Crispin Glover. Greasy hair. Wears weasel pelts. Over-the-top and vivacious. Transparent in his villainy and revels in it. Tall, cadaverous. Doubles as other roles, usually with Black Fox. Late 20s-Mid 30s Baritone
President of the United States. Old school American aristocracy. Foppish and overwhelmed. Exasperated by Jackson’s overreaching as well as by the idiocy of his advisors. Doubles as other roles.
JOHN C. CALHOUN
Gentlemen senator from the South. Sinister, good-looking, charming, and brilliant. A vain mastermind. Wears the finest clothes. The most restrained of the cabal. Tall, thin. Doubles as other roles, usually with Andrew Sr. Late 20s-Mid 30s Baritone
JOHN QUINCY ADAMS
Former President’s son. Whiny, spoiled, demanding. All grown up, has joined the Calhoun-Clay cabal. Really, really wants to be President. Like, right now. Think Bud Frump. Doubles as other roles. Early 20s-Early 30s Baritone
Adopted Native American son of Andrew Jackson. Sweet disposition with a wild streak.
Brooding, intense rocker with powerful, emotive indie rock voice. Angsty, good-looking, young, hip. Doubles as other roles. Think The Killers or Blink-182, not musical theater.
Late teens – Mid 20s rock Baritone
MARTIN VAN BUREN
Jackson’s right hand man. In over his head. A buffoon, well-intentioned and utterly lovable. Think Nicely-Nicely. Doubles as other roles. 20s-Mid 30s
Jackson’s wife. Deeply religious and devoted, even maternal, to Jackson. Good if older than Jackson. Strangely alluring, not overtly sexual. Amy Sedaris-type. Doubles as other roles.
Mid 20s-Mid 30s
Milquetoast, oppressively good-natured narrator. Wears a Puff the Magic Dragon-style sweater, thick glasses, and her hair in a bun. Loves history, loves Jackson, and loves telling the audience about both. Being in this show might be the most exciting moment in her life. If played by a younger actress, can double with other roles.
Late 30s-late 60s
VARIOUS FRONTIERSMEN, INDIANS, and SOLDIERS
20s-30s Male and Female. Double as other roles. Very strong pop voices.
The Dayton Theatre Guild will hold open auditions for Going to St. Ives by Lee Blessing (A Walk in the Woods, Independence) on Monday and Tuesday, February 13 and 14, at 7:00 p.m. It is directed by Greg Smith and produced by Barbara Jorgensen. Production dates for Going to St. Ives are March 16 – April 1, 2012.
A renowned English ophthalmologist is visited by the mother of a tyrannical, murderous dictator because she desperately needs surgery on her eyes. The doctor requests a favor. The mother has a request of her own that, if granted, will have devastating effects for both women.
Roles are available for two female actors – one white with an English Accent and one African-American with a lilting African accent. Actors will be asked to read from the script. Head shots & résumés are not required but are encouraged.
Actors who audition should be comfortable playing anywhere from 32-50 years of age.
Cora – white, English, a renowned eye surgeon who currently resides in St. Ives.
Mae – black, the mother of an African dictator, who goes to England for eye surgery.
(press release from the Dayton Theatre Guild)
The Dayton Playhouse YouTheatre is offering audition workshops for children and teens on Saturday, February 18. The workshops are aimed at helping children and teens prepare for theatre auditions, including auditions for The Sound of Music, which will open at the Playhouse in May.
Jennifer Lockwood, director of the recent Dayton Playhouse production of Scrooge, will be leading the workshops. According to Lockwood, “This is a great opportunity for children of all ages to find out what to expect at an audition and to be prepared to ward off the nervousness and do their best.”
Participants in both workshops will have the chance to learn and perform simple dance movements, be coached through cold-readings from a script, and choose an audition song that is both age and voice appropriate. Teens will also get suggestions for finding monologues for school drama productions and future auditions.
The workshops will be divided by age groups and will each last approximately 90 minutes. They will both take place on Saturday, February 18, at the Dayton Playhouse,1301 E. Siebenthaler Ave,Dayton,Ohio45414.
Children’s Audition Workshop: Ages 5-12 at 10:00 AM
Teen Audition Workshop: Ages 13-19 at 1:00 PM
Parents are welcome to stay and will receive an orientation package concerning The Sound of Music including rehearsal information, volunteer opportunities, etc. Members of the Dayton Playhouse board will also be available to answer parent questions and offer tours of the facility.
Registration fee is $10 per participant. Reservations can be made at www.daytonplayhouse.org, or 937.424.8477.