Auditions announced for Monty Python's Spamalot and Shakespeare's The Tempest
Please join us! WCP/BHCT is a nonprofit community (amateur) theatre and neither prior experience nor membership is required to audition. WCP/BHCT is committed to a policy of open auditions. Our success depends on the full participation of talented people, regardless of their race, creed, color, age, gender, sexual orientation, national origin, disability, or any other characteristic protected by law.
Monty Python's Spamalot
Directed by Greg Holt with Choreography by Donna Baumgartner and Music Direction by Linda Sharp
Audition Dates & Times for Spamalot:
Sunday, March 19th, at 6:00 p.m. and Saturday, March 25th, at 2:00 p.m.
Waterloo Community Playhouse - Walker Building
224 Commercial Street, Waterloo
June 1, 2, 8, 9, 10 at 7:00 PM and June 4 and 11 at 2:00
Be prepared to fill out an information sheet and conflict schedule before the auditions begin. The audition process will include vocals, dance, and cold readings from the script. Please wear appropriate clothing and footwear for movement. Also prepare at least 16 bars of a song and provide sheet music; an accompanist will be available. Scripts are available to check out ahead of time for a $10 refundable deposit.
Please note that the ages listed just serve as a guide. All roles are available and casting is open, and newcomers are welcomed and encouraged. Also, character doublings are only suggested here and may be changed based on audition results and production needs. In tribute to the film -- where six actors played the majority of all male parts (and a few female ones) -- several actors play multiple roles; the only major characters not doubling are King Arthur and the Lady of the Lake.
KING ARTHUR (Baritone [Low G2 -- High F4], 30s-60s). The King of England, who sets out on a quest to form the Knights of the Round Table and find the Holy Grail. Great humor. Good singer.
THE LADY OF THE LAKE (Alto with large range [Low E3 -- High B6], 20s-40s). A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers. Sings everything from opera to pop to scatting. Gets angry easily.
SIR ROBIN (Tenor/Baritone [Low D3 -- High G4], 20s-40s). A Knight of the Round Table. Ironically called "Sir Robin the Brave," though he couldn't be more cowardly. Joins the Knights for the singing and dancing. Also plays GUARD 1 and BROTHER MAYNARD: a long-winded monk. A good mover.
SIR LANCELOT (Tenor/Baritone [Low C3 -- High E4], 20s-40s). A Knight of the Round Table. He is fearless to a bloody fault but through a twist of fate discovers his "softer side." This actor must be great with character voices and accents, as he also plays THE FRENCH TAUNTER: an arrogant, condescending, over-the-top Frenchman; the KNIGHT OF NI: an absurd, cartoonish leader of a peculiar group of Knights; and TIM THE ENCHANTER: a ghostly being with a Scottish accent.
PATSY (Tenor/Baritone [Low Bb3 -- High G5], 20s-50s). King Arthur's horse and servant. Under-appreciated but always longing for Arthur's approval. Good, funny, physical mover with some tap dancing. Also plays MAYOR: a jolly red-faced man who advertises the merits of his hometown; and the drunken, useless GUARD 2. Very good mover. Tap skills a bonus.
SIR GALAHAD (Tenor [Low Bb3 -- High Bb5], 30s-50s). A Knight of the Round Table. Begins as Dennis, a lower class "mud gatherer" who becomes knighted and transforms into the dashing Sir Galahad. Also plays PRINCE HERBERT'S FATHER: a wealthy, brutish Yorkshireman at odds with his sensitive son; and THE BLACK KNIGHT: who is always ready to duel despite multiple injuries. Strong bari-tenor singing required.
SIR BEDEVERE (Tenor/Baritone with falsetto [Low D3 -- High G4], 20s-40s). A Knight of the Round Table. An inept scholar. Also plays DENNIS GALAHAD'S MOTHER: a shrill peasant woman; and CONCORDE: Sir Lancelot's horse.
HISTORIAN (Tenor [Low A2 – High A5], 20s-50s). A tweedy academic. Also plays NOT DEAD FRED: a sickly little fellow who -- despite others' beliefs -- claims he is "not yet dead"; a FRENCH GUARD: the condemnatory sidekick to the French Taunter; a MINSTREL in Sir Robin's band; and PRINCE HERBERT: the hopeful and frilly prince who loves to sing and pines for his love atop a tower. Tenor singing required. Very good mover.
MALE ENSEMBLE (6 men). Seeking strong dancers and singers to play many roles including the other Knights of the Round Table, Sir Not Appearing, Sir Bohrs, Bodies in "Not Yet Dead," the Dancing Monk, the Dancing Nun, French Citizens, Finland Citizens, a French Guard, Robin's Minstrel, and more! Strong dance skills preferred; tap skills a bonus.
FEMALE ENSEMBLE (6 women). Seeking strong dancers and singers to play many roles including the Camelot Girls, the Laker Girls, a French Guard, Knights of Ni, two of Robin's Minstrels, French Citizens, Finland Citizens, and more! Strong dance skills preferred, tap skills a bonus.
EVERY "Ensemble" member plays at least SIX roles. The busiest principal player plays only FIVE roles.
UPCOMING AUDITIONS - DATES ARE TENTATIVE - PLEASE CONFIRM CLOSER TO THE DATE
Auditions will be held in the WCP/BHCT Walker Building at 224 Commercial Street in Waterloo. Interested individuals need only attend one audition session. Neither experience nor membership is required to audition. WCP/BHCT is committed to a policy of open auditions. Our success depends on the full participation of talented people, regardless of their race, creed, color, age, gender, sexual orientation, national origin, disability, or any other characteristic protected by law.
Scripts will be available for a week-long perusal with a $10 deposit. Please stop by the WCP/BHCT Walker Building during normal business hours (Tuesday-Friday, 8am-6pm) to pick up a script.
Auditions will be held in the WCP/BHCT Walker Building at 224 Commercial Street in Waterloo. Neither experience nor membership is required to audition. WCP/BHCT is committed to a policy of open auditions. Our success depends on the full participation of talented people, regardless of their race, creed, color, age, gender, sexual orientation, national origin, disability, or any other characteristic protected by law.
WCP/BHCT is committed to a policy of open auditions. Our success depends on the full participation of talented people, regardless of their race, creed, color, age, gender, sexual orientation, national origin, disability, or any other characteristic protected by law. Scripts will be available for a week-long perusal with a $10 fully refundable deposit. Please stop by the WCP/BHCT Walker Building during normal business hours (Tuesday-Friday, 10am-6pm) to pick up a script. Questions? Call 319-235-0367.
William Shakespeare’s The Tempest
Written by William Shakespeare
Arranged by Anita Ross
AUDITION DATES: Wednesday, April 12 at 7:00 or Saturday, April 15 at 1:00 (or by appointment)
PRODUCTION RUN DATES: Wednesday, June 21-25, 2017. (We will be performing at the Cedar Valley Arboretum as well as another venue to be decided.)
PROSPERO (Male or Female, 30+) a magician, controls the beings of the island, is both forgiving and vengeful. He is the former duke of Milan.
MIRANDA (Female, 15-20) Prospero’s daughter. She is naïve but intelligent and inquisitive. She is also deeply compassionate though only knows what her father has taught her of the world.
ARIEL (Female or male, 15+) A spirit freed from a spell by Prospero. Ariel longs to be a free from her servitude to Prospero. Ariel is a singing spirit.
CALIBAN (Male, 15+) A barely-human “monster” and son of an evil sorceress. Prospero tried to educate him. He is belligerent but afraid of Prospero.
FERDINAND (Male, 15-20) Alonso’s son. He is honest, kind, and eager to earn the love of Miranda.
ALONSO, KING of NAPLES (Male or Female, 20+) Though not particularly good, Alonso is also not particularly bad. He bears some responsibility for Prospero’s position in that he helped Antonio overthrow Prospero. He is willing to face his treachery.
SEBASTIAN (Male or Female, 20+) Alonso’s sibling. Sebastian tends to thoughts of conspiracy and murder often offering a pessimistic view of the world through a sharp wit.
ANTONIO, DUKE of MILAN (Male or Female, 25+) Prospero’s brother. Antonio overthrew Prospero and sent him and Miranda, as an infant, adrift at sea hoping the elements would do their worst. He feels entitled to his power and is hungry for more though he hides this behind a cheery demeanor.
GONZALO (Male, 20+) Alonso’s faithful courtier. Inclined to be a bit doddery though he is honest and looks for the best in a situation.
TRINCULO (Male or Female, 16+) Alonso’s Jester/Fool. Trinculo has a sharp wit which is generally underappreciated. This character – with Stephano – plays the comic foil in the play.
STEPHANO (Male or Female, 16+) Alonso’s butler. With Trinculo, the two are a raucous pair whose petty boasting and quarrels are reminiscent of fourth-graders on the playground.
OTHER ATTENDANTS, OFFICERS, and SPIRITS/GODDESSES (Males and Females, 15+) includes Juno (Queen of the Gods), Iris (Goddess of Rainbows), and Ceres (Goddess of Agriculture).
Prospero, the former duke of Milan, and his daughter, Miranda were marooned on a magical island years ago. He has freed the shape-shifting spirit Ariel, given purpose to the monster Caliban, and honed his sorcery skills through time and trial. Now he has the chance to enact his revenge against his treacherous brother, Antonio, and Alonso, the King of Naples, who betrayed him. Prospero and his spirit servants create a storm that brings the usurpers and their shipmates to the island. Through the magically tempestuous journey, friends and family are reconciled, lovers are united, and old wounds are healed in this tale romance, reconciliation, and renewal.
Please prepare a Shakespearean monologue. Your monologue may be selected from suggested pieces available through us or a Shakespearean work similar to The Tempest. Suggested monologues are available by stopping by the theatre or emailing email@example.com. These pieces do not need to be memorized but be very familiar with them for your audition.
Initial auditions will consist of the monologues only. Callbacks will include reading from the script.
Here are a couple of suggested monologues:
Monologues for The Tempest
Caliban. I must eat my dinner.
This island's mine, by Sycorax my mother,
Which thou takest from me. When thou camest first,
Thou strokedst me and madest much of me, wouldst give me
Water with berries in't, and teach me how
To name the bigger light, and how the less,
That burn by day and night: and then I loved thee
And show'd thee all the qualities o' the isle,
The fresh springs, brine-pits, barren place and fertile:
Cursed be I that did so! All the charms
Of Sycorax, toads, beetles, bats, light on you!
For I am all the subjects that you have,
Which first was mine own king: and here you sty me
In this hard rock, whiles you do keep from me
The rest o' the island.
Ferdinand. There be some sports are painful, and their labour
Delight in them sets off: some kinds of baseness
Are nobly undergone and most poor matters
Point to rich ends. This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what's dead
And makes my labours pleasures: O, she is
Ten times more gentle than her father's crabbed,
And he's composed of harshness. I must remove
Some thousands of these logs and pile them up,
Upon a sore injunction: my sweet mistress
Weeps when she sees me work, and says, such baseness
Had never like executor. I forget:
But these sweet thoughts do even refresh my labours,
Most busy lest, when I do it.
Ariel. I told you, sir, they were red-hot with drinking;
So fun of valour that they smote the air
For breathing in their faces; beat the ground
For kissing of their feet; yet always bending
Towards their project. Then I beat my tabour;
At which, like unback'd colts, they prick'd their ears,
Advanced their eyelids, lifted up their noses
As they smelt music: so I charm'd their ears
That calf-like they my lowing follow'd through
Tooth'd briers, sharp furzes, pricking goss and thorns,
Which entered their frail shins: at last I left them
I' the filthy-mantled pool beyond your cell,
There dancing up to the chins, that the foul lake
O'erstunk their feet.
Miranda. One of my sex; no woman's face remember,
Save, from my glass, mine own; nor have I seen
More that I may call men than you, good friend,
And my dear father: how features are abroad,
I am skilless of; but, by my modesty,
The jewel in my dower, I would not wish
Any companion in the world but you,
Nor can imagination form a shape,
Besides yourself, to like of. But I prattle
Something too wildly and my father's precepts
I therein do forget.
PROSPERO: In this last tempest. I perceive these lords
At this encounter do so much admire
That they devour their reason and scarce think
Their eyes do offices of truth, their words
Are natural breath: but, howsoe'er you have
Been justled from your senses, know for certain
That I am Prospero and that very duke
Which was thrust forth of Milan, who most strangely
Upon this shore, where you were wreck'd, was landed,
To be the lord on't. No more yet of this;
For 'tis a chronicle of day by day,
Not a relation for a breakfast nor
Befitting this first meeting. Welcome, sir;
This cell's my court: here have I few attendants
And subjects none abroad: pray you, look in.
My dukedom since you have given me again,
I will requite you with as good a thing;
At least bring forth a wonder, to content ye
As much as me my dukedom.
TRINCULO: Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish-like smell; a kind of not of the newest Poor-John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a man; any strange beast there makes a man: when they will not give a doit to relieve a lame beggar, they will lazy out ten to see a dead Indian. Legged like a man and his fins like arms! Warm o' my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. [Thunder] Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past.
Auditions will be held in the WCP/BHCT Walker Building at 224 Commercial Street in Waterloo. Interested individuals need only attend one audition session. Neither experience nor membership is required to audition.
Scripts will be available for a week-long perusal with a $10 deposit - copies of The Tempest are also readily available online. Please stop by the WCP/BHCT Walker Building during normal business hours (Tuesday-Friday, 8am-6pm) to pick up a script. You may also simply find a script online in order to become familiar with the story and characters. Ultimately, we will be using an arrangement based on the Folger edition of The Tempest.
WCP/BHCT is committed to a policy of open auditions. Our success depends on the full participation of talented people, regardless of their race, creed, color, age, gender, sexual orientation, national origin, disability, or any other characteristic protected by law. Questions? Call 319-235-0367 or email firstname.lastname@example.org