you are always on audition

On any given day, anyone can have a great audition, or a horrible audition. Auditions are a necessary process and vital tool as well as a chance for the directors to see you shine on material that you have rehearsed and perfected. Your audition should be a reflection of your time and commitment to the arts. Directors also understand that anything can happen during an audition, which is why everyday is an audition. We are truly on your side.

As soon as you know when auditions are scheduled, you must begin your preparation. If you already know certain shows are announced, you should begin preparing. Research the style, genre, time period, etc. Self asses your strengths and weaknesses and begin your prep for auditions. If you do not know where your strengths and weaknesses, ask your directors. You must be open minded to hear the truth if you really want to be a part of any production. This is an educational process and it is our intent to help you understand where you are and where you could go!

The Audition, by Don Zolidis, is a short play that offers many roles, mostly female; we can expand the cast as needed. The set is a bare stage; lighting needs and sound cues are minimal. The entire focus of this one-act play is on the actors and their character development, offering student actors opportunities to explore creating a character, making big choices, and committing to moments.

The Audition at a Glance

Setting: The stage in a high school auditorium

Time: The present

Cast size: This play has 13 speaking roles and an optional (non-singing) chorus. Production notes also specify that roles may be doubled or lines divided among the chorus as needed.

Male Characters: 4

Female Characters: 9

Characters that may be played by either males or females: 7

The production notes explicitly state that "The roles of Stage Manager and Mr. Torrence may be cast as female and the roles of Gina, Yuma, Elizabeth, Elizabeth’s Mother, and Carrie’s Mother may be cast as male.”

ROLES

Mr. Torrence is the much put-upon director of the show. This is his first year directing the musical and he is overwhelmed by the amount of energy, both good and bad, he finds in the student actors auditioning for him.

Stage Manager is, as named, the stage manager for the show. This is also his first year and he is nervous. The actors intrigue and frustrate him and often he gets caught up in their energy and antics.

Carrie is genuinely talented and, rightly, wins the lead. She is upset that her mother never comes to her performances and feels unsupported and resentful. After confronting her mother with her feelings, she is ordered to quit the play and get a job.

Soliel has had a difficult time in life. Her parents died young and she has never had money to dress or style herself to fit in. Every ounce of her seems to scream, “I’m different!” She has recently come to accept herself and enjoy her individuality and yet she says, “If someone asked me tomorrow if I would trade it all to be average…you know what I’d say? In a heartbeat.”

Elizabeth is on track to go to a top-tier college. It is not the track she would choose. She’d rather be at home doing nothing. Her mother is on a mission to fill her college resume with as many impressive activities as possible and this month it is the high school musical.

Alison has won every lead role in every school play since kindergarten. Her audition is only a list of the title roles she’s played; she feels she ought to get the lead on principle. It is a huge shock to her system when she isn’t even called back.

Sarah has one goal—to play a love scene with Tommy.

Tommy is the unwitting object of Sarah’s attention. He wants to be in a show, but not necessarily as the love interest.

Yuma lives to dance! She dances every dance with enormous energy and thinks that everyone should dance everywhere and all the time!

Gina has worked very hard to be able to cry on cue. After all, that’s an actor’s biggest challenge, right? Mostly she cries because puppies are sellouts for the commercial industry.

Elizabeth’s Mother is driven to get her daughter into a prestigious school. Every waking moment of every scrap of Elizabeth’s free time must be directed toward that one goal. She doesn’t hear her daughter’s protests because she is older and knows better.

Alison’s Father takes his daughter’s failed audition as a personal affront. It doesn’t matter that she didn’t sing, do a monologue, or produce any true audition material. She’s upset and so he’s ready to fight to get her what she wants.

Carrie’s Mother is hard at work to provide even the minimal basic necessities for her daughter. She provides food, clothes, and a home for Carrie and beyond that, any extra time is spent in sheer exhaustion. She does not see supporting her daughter as attending her plays. She sees support as keeping her child fed and alive.

Plot Summary

Hardcopies of all audition forms, information packets and monologues and sheet music will be available before auditions. Please see Ms. Phillips or Ms. Owen for more information! You will also find the information posted on this site.

VOCALS

All students will initially audition with a portion of "Let it Go," from the bows at the end of the show. If you intend to audition for a lead role or solo, it is best to ALSO prepare a song clip from one of the characters you are interested in.

MEN & WOMEN:

Will sing the following songs: Let it Go portion from the Bows. There is a clip found here: Music Audition Files

MUSIC- All music can be found AT THE FOLLOWING linkS

Dropbox Link- Frozen Tracks Guide: https://www.dropbox.com/sh/lhoim6bn2tb8suj/AAAx6PvrMEvMj_YYzKERdWTna?dl=0

GOOGLE: Frozen Tracks- Guide

Frozen Tracks- Background Only

Audition Cuts

AUDITION SIGN-UPS- will be posted on the CALL BOARD in the Drama Room, 303. Please sign up on the call board and pick up an audition form, which will also be available on the call board. It is preferred you bring a head shot (a recent close-up picture of you) and know how tall you are.

You will be required to perform vocals and dance that are listed above. For the acting auditions, you will be asked to perform a duet scene in the character(s) you are called back for.

You will be required to slate at Vocal, Dance and Acting auditions. (stating your full name, grade, & what selections you are performing) Please take a moment before each performance, to breathe in your character and position your character's body. After your first selection you sing your song.

Full Synopsis

cast of characters

Cast Size: Medium (11 to 20 performers)

Cast Type: Ensemble Cast

Dance Requirements: Standard

Young Anna

Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but as she grows older, she longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once your actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: D5

Vocal range bottom: A3

Middle Anna

Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but as she grows older, she longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once your actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: B4

Vocal range bottom: A3

Anna

Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but as she grows older, she longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once your actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: D5

Vocal range bottom: G3

Young Elsa

Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, especially her beloved sister, Anna, Elsa becomes anxious and withdrawn as she grows older, before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for very strong singers who can portray Elsa's restrained nature. Once your actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: C#5

Vocal range bottom: A3

Middle Elsa

Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, especially her beloved sister, Anna, Elsa becomes anxious and withdrawn as she grows older, before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for very strong singers who can portray Elsa's restrained nature. Once your actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: F#4

Vocal range bottom: A3

Elsa

Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, especially her beloved sister, Anna, Elsa becomes anxious and withdrawn as she grows older, before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for very strong singers who can portray Elsa's restrained nature. Once your actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show.

Gender: Female

Vocal range top: D5

Vocal range bottom: F#3

King Agnarr

The warm-hearted ruler of Arendelle is committed to protecting both his family and the Townspeople from his eldest daughter's powers. With only one singing solo, focus on casting an actor who can play this father figure convincingly.

Gender: Male

Queen Iduna

The queen possesses a sense of rightness and kindness that guides her in her protection of her two young girls. A daughter of the Northern Nomads, this queen has the ability to communicate with the Hidden Folk of the mountains and so understands Elsa's powers deeply; look for an actor who can portray this sense of compassion.

Gender: Female

Pabbie

Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd- pleaser, "Fixer Upper."

Gender: Any

Bulda

Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd- pleaser, "Fixer Upper."

Gender: Any

Bishop

The bishop officiates the coronation and passing of the crown to Elsa. This spiritual supervisor must communicate to the Townspeople of Arendelle in a serious and formal manner.

Gender: Any

Kristoff

Kristoff is a hardworking ice harvester. Kristoff has a sarcastic veneer and a rough-around-the-edges exterior that hides a big heart. Taken in by the Hidden Folk when he was young, he loves Pabbie and Bulda dearly, but is a bit of a loner with a reindeer for a best friend- until he meets Anna. With only a few short singing solos, focus on casting a performer who can balance a cynical sense of humor with charming banter.

Gender: Male

Vocal range top: A3

Vocal range bottom: G2

Sven

Sven is a reindeer of few words, fiercely loyal pal to Kristoff, and loves giving the ice harvester a hard time. Look for a performer with good comic timing and terrific physical acting skills who can devise a strong movement vocabulary to bring this furry charmer to life. Consider auditioning potential Svens and Kristoffs together as the two should share a visible bond.

Gender: Any

Vocal range top: A4

Vocal range bottom: A3

Hans

The ambitious Prince of the Southern Isles and overlooked thirteenth son of a king. Hans constantly strives to find a way to make good and stand out. He boasts an exceedingly charming facade that fools everyone - including Anna and, ideally, the audience! - into believing he's Prince Charming, when really, he's just a jerk. Cast an actor who can play both sides of this two-faced prince with relish as well as confidently sing the moments of harmony in "Love Is an Open Door."

Gender: Male

Vocal range top: B3

Vocal range bottom: G2

Weselton

A visiting duke who possesses a huge inferiority complex. A bombastic, overbearing sycophant, Weselton's sole purpose is to hobnob with influencers and royalty. Look for an actor who can portray the narrow-minded naysayer with over-the-top gusto.

Gender: Any

Olaf

The magical snowman created by Anna and Elsa when they were young. Olaf is endearingly delighted by everything - especially the idea of summer. Goofy and sweet, Olaf should possess a childlike innocence and excellent comic timing.

Gender: Male

Vocal range top: D4

Vocal range bottom: F#2

Oaken

An exceedingly cheerful and convivial wandering salesperson and ardent devotee to all things cozy and comfortable. Oaken's "Hygge" is a showstopper, so cast an actor who can portray the peppy peddler's infectious warmth with flair and good humor.

Gender: Any

Ensemble

Townspeople, Snow Chorus, Hidden Folk, Castle Staff, Housekeeper, Butler, Handmaiden, Cook, Steward, Guards, Summer Chorus, Oaken's Family

Gender: Any

WHAT IS UIL OAP?

The League's One-Act Play Contest, founded in 1927, is the largest high school play production contest or play festival in the world. More than 14,000 Texas high school students in more than 1,200 plays participate in 300 plus contests, which take place from the beginning of March through the three-day, 40-production State Meet One-Act Play Contest. The One-Act Play Contest is supported by more than 300 members of the Texas Theatre Adjudicator and Officials Organization. The League's theatre program is considered by historians to be the foundation of educational and community theatre in Texas. It continues to be a major factor motivating increasing numbers of schools to offer theatre arts as an academic subject.

The UIL One-Act Play contest is a competition where similarly sized Texas schools present an 18-40 minute play and may be adjudicated by a panel of three judges or a single judge. The contest is held on a single day and open to the public. There are six possible levels of competition: Zone, District, Bi-District, Area, Region, and State. At each level of competition a judge awards individual acting awards as well as selecting three productions to advance to the next level of competition up to the Regional Level where only two will advance to the State Level. After the awards are announced a Judge gives an oral critique to each of the schools. Because of the wide participation and diversity of plays produced certain rules and guidelines have been adopted by the State One-Act Play Office. These rules are in place to ensure safety, allow for equity, satisfy legal standards, and make the running of the contest practical.

THE STORY:

Instead of relishing life after her heart transplant, Joy enters a downward spiral, unsure whether she truly deserves a second chance. Meanwhile, Alice and Hank mourn the loss of their son, Jack, whose heart was used to save Joy. At a friend's urging, Joy tracks down Jack's family to find closure. But are Alice, Hank, and their daughter Sammy ready to accept Jack's death? Based on a true story, The Tin Woman uses humor and pathos to explore loss, family, and what it means to be given new life.

Cast of characters:

Joy – Late 20’s to late 30’s

A freelance graphic artist. At the outset, Joy has received a life-saving heart transplant but is conflicted about what to do now. Smart, sometimes acerbic, attractive but rudderless with her new lease on life.

Hank – Mid to late 50’s to early 60’s

He is nearing retirement as head of a small building supplies company. Husband to Alice and father to Sammy and the deceased heart donor, Jack. Hank is pushing forward, trying very hard not to wallow in or even barely acknowledge his grief and guilt. He can be snappish, abrupt and lately has been drinking more than he ought. He believes he is handling things just fine.

Jack – Late 20’s to late 30’s

An accountant with aspirations of being a professional photographer. He dresses fashionably, hipster-ish. Jack is dead at the outset of the play but nonetheless appears throughout the show. He is more of a memory than a ghost.

Alice – Mid to late 50’s to early 60’s

Mother to the deceased Jack and to Sammy, she is a solid, loving, enduring presence. She knows her husband and is aware of what he is going through. She accepts his scorn until she doesn’t anymore. A big heart that is dealing with its own pain while trying to hold the family together and do the right thing.

Sammy – 20’s – 30’s

A pre-school teacher and Jack’s younger sister. She is somewhat “new age-y” but with an enormous heart. She really wants to help in any way she can. She writes a blog where she might over-share her life with the world to Hank’s consternation. She can give in too easily to her emotions but of everyone, she is the most in touch with them.

Nurse – 30’s – 60’s

Very competent although a bit annoying in her approach. She is by the book in all things but probably because she is so busy, she can sometimes be condescending. A functionary but a positive person with a small religious streak.

Darla – 30’s – 60’s

Somewhat flamboyant, artsy, very caring to Joy. A singular soul in habit and dress. She worries about and wants the best for her friend.