Emmaus High School
Musical Audition Packet
Once Upon a Mattress 2016
Welcome to the Once Upon A Mattress Audition Packet. This packet will provide you with all of
the material you will need in order to carry out a professional, prepared, and strong audition. Please
read all of the following information carefully, and bring your completed audition form and conflict
sheet with you to the first day of auditions on Monday, 12/14. Auditioning can be a very nervewracking experience. Therefore it is in your best interest to become as familiar with the material in this
packet as possible. In the attached pages you will find a synopsis, a character breakdown, key dates, and
other important information. Audition music files and readings will be uploaded as separate files on the
Drama Dept. website. The more educated you are regarding this production, the more capable you will
be of making strong and relevant choices in your audition. Throughout the audition process we will be
looking for students who are hard-working, positive, focused, and ready to work together. We like to
think of musical productions as well-oiled machines. Therefore, actors need to be ready to work as a
part of a team, with everyone working to tell a fast-paced, driving story of empowerment and
innovation.
From the choosing of the play to the audition, to rehearsals and performances through final
strike, all participants of this production will create and participate in a process that will feature nothing
less than 100% dedication, hard work, and excellence. Our process is founded in complete teamwork
and collaboration that will hopefully lead to a professional-level production. Our teaching and working
model gives students an opportunity to grow both on and offstage while creating a musical theatre
production for our school and community to enjoy. It is also a great way to make new friends and
develop new skills. Thank you for joining us and we wish you the best of luck at auditions. If not cast,
we hope you will participate in one of the many important roles backstage, which are as important as
the ones onstage.
AUDITIONS
Vocal/Acting Auditions: Monday 12/14 2:45-6:00 PM Auditorium/Chorus room (meet in aud.)
Vocal/Acting/Dance Auditions*: Tuesday 12/15 2:45-6:00 PM Auditorium/Chorus room (meet in aud.)
Callback Auditions: 12/16 2:45-6:00 PM Auditorium/Chorus room (meet in aud.)
Callback Auditions: 12/17 (if needed) 3:00-6:00 PM Auditorium/Chorus room (meet in aud.)
*Please dress comfortably. Wear clothing you can move in and shoes you can dance in.
REHEARSALS
January 4, 2016 through March 7, 2016: Music, acting, and dance rehearsals will generally be Monday Friday from 2:35 - 6:00pm. There will be some Saturday rehearsals as well. More specific dates and
times will be determined after casting. Tech week rehearsals and dress rehearsals may run as late as 10
PM if necessary (Feb. 26-March 7).
PERFORMANCES
Preview (for senior citizen Gold Card holders): Tuesday, March 8 @ 6:00 PM
Wednesday, March 9, Thursday, March 10, Friday, March 11, Saturday, March 12 @ 7:00 PM
Saturday, March 12, Sunday, March 13 @ 2:00 PM
Snow make-up date: Monday, March 14 @ 7:00 PM
In auditions as well as in rehearsal, we are looking for actors who are willing to make bold choices. Once
Upon A Mattress is a fairy-tale; therefore all of the characters are larger than life. We are looking for
comedic actors who use their bodies and their voices to create archetypal fairy-tale characters: the evil
queen, the sly jester, the innocent lady- in- waiting, and the strapping knight. Do your best, take risks,
and have fun!
SYNOPSIS ACT ONE:
In a small kingdom in medieval times, Prince Dauntless is looking for a bride. A dozen girls have
already been tested and rejected as unsuitable by his mother, the talkative Queen Aggravain, (who
dominates the kingdom) and her mute husband, King Sextimus. The marriage law of the land states "No
one may wed until Dauntless shares his marriage bed," and the lords and ladies of the court are
distressed. There is definitely “An Opening for a Princess” here. Chief among the distressed are Lady
Larken and Sir Harry, who are soon going to have a new arrival whether they are married or not. Though
Larken offers to go away so the birth of their child won't spoil Harry's chance to become Prime Minister,
Harry won't hear of such a thing. Everything will be all right “In a Little While,” just as soon as the right
princess shows up. The Prince hopes that will be soon too, as he's eager to get married, though he
sometimes has the feeling the Queen doesn't want him to marry. According to Queen Aggravain, she's
only doing this for her son's own good, because she wants him to wed a true princess- someone like
herself.
The Queen is interrupted by Sir Harry, who offers to embark on a search for a princess. After all,
they've exhausted all the possibilities in the kingdom. Reluctant to grant Harry's request, the Queen
finally gives in to Dauntless' pleading and gives the knight permission to begin his quest. Three weeks
later Harry returns with a princess, but not the type of princess anyone expected. It's Princess Winnifred,
who arrives dripping wet. She was so anxious to fill the opening for a princess that she swam the castle's
moat instead of waiting for the drawbridge to be lowered. Even though she's "actually terribly timid and
horribly shy," she can hardly bear to wait to discover who her prince will be. The Queen is appalled by
Princess Winnifred's behavior. Her son absolutely won't marry any “moat-swimmer"- not like this, not
while there's still breath left in her body! Aggravain calls on her royal Wizard to devise a test for
“Sensitivity,” but before he can come up with an idea the Queen has decided that under 20 soft, downy
mattresses she will place a tiny pea- "any genuine princess would feel it"- and if 20 mattresses aren't
enough to ensure Princess Winnifred a good night's sleep, the Queen will see that she's given a sedative
to help her.
Meanwhile, Winnifred and Dauntless are getting to know one another. The Princess has also
impressed the King, who, Winnifred learns, is under a curse. He will remain mute until "the mouse
devours the hawk," whatever that means. They've already tried using a big mouse and a little hawk, but
the mouse ran away and the hawk bit the King! Not to worry, Winnifred reassures them, once her test is
out of the way she'll figure something out. Right now she has other things on her mind, like the
strangeness of her new surroundings, which are so...dry, certainly not like “The Swamps of Home.” Lady
Larken mistakes Princess Winnifred for a chambermaid and has a minor fight with Harry, whom she
blames for her error. Harry doesn't understand how Larken could mistake the Princess for a
chambermaid, but then Larken doesn't understand how Harry could mistake "that chambermaid for a
Princess." They part bitterly.
The Queen is still concerned that her test may be too easy. She decides to hold a ball first so
hopefully "what's-her-name" will dance till she drops. The Queen has heard that the new dance that's all
the rage, “The Spanish Panic,” is absolutely exhausting! Later that evening, Larken is running away
because of her fight with Harry, but she's intercepted by the Minstrel and the Jester who try to dissuade
her by describing the terrors lurking on the other side of the castle walls. On second thought, maybe
Larken will let the Minstrel guide her to “Normandy,”- it sounds so delightful as he describes its joys. At
the ball things aren't going exactly as the Queen had planned. Winnifred has danced every dance so far,
but she isn't the least bit tired. Actually, she's more interested in the upcoming test, and she tries to get
Dauntless to give her some clues as to what might lie in store for her. Well, sometimes it's a test of
spelling, sometimes a test of strength and endurance... now that's something Winnifred can relate to!
She picks up a weight even he can’t lift! Dauntless is further impressed, the pair become even friendlier,
and Winnifred tells him that he can call her by her nickname, “Fred.” Why, Fred can do almost anything,
which she proceeds to prove in “Song of Love.” Fred can do anything except drink, that is, and she
passes out after a few too many goblets of congratulatory wine.
ACT TWO:
Setting up her test, the Queen demands the castle remain quiet while it is in progress. When she
discovers that Larken, in disguise, intends to run away, the Queen reminds Larken that she is still one of
her ladies-in-waiting and orders her to "get above stairs where you belong and prepare what's-hername!” Dauntless is trying to coach the Princess for her test when Larken arrives, still in her runaway
disguise. Winnifred doesn't quite understand what's going on, but it must have something to do with
something Larken's done to Harry! He's a wonderful boy, and Larken should go to him at once and
apologize. Realizing she really does love Harry, Larken agrees, telling Winnifred that if her baby is a girl,
she'll name her Fred in the Princess' honor! Alone, Winnifred continues studying for her test by reading
the story of Prince Waldere, which of course ends with a “Happily Ever After.” She wonders if she will
have a “happily-ever-after” too.
The Minstrel and the Jester are attempting to find out what kind of test the Queen has planned
for Winnifred. The King wants to help, but the Jester points out that now that Dauntless is getting
married perhaps the King should have a little man-to-man talk with his son. When he does, it turns out
that the Prince is not as dense as everyone believes him to be. Meanwhile, the Minstrel and the Jester
beard the Wizard in his chamber, and the Minstrel recognizes him as Cardamon the Great, a magician he
remembers from a performance he saw when he was a small boy- the greatest performer he can
remember seeing. Flattered, the Wizard appears willing to take the Minstrel into his confidence, as the
Jester reminisces about the act his father used to do in his “Very Soft Shoes.” Larken has indeed
apologized to Harry, and things are looking up for the pair once again (“Yesterday I Loved You”); but not
if the Queen has her way with the test!
Aggravain has had the 20 mattresses set up, but just in case Winnifred has trouble falling asleep
she's brought the Wizard's hypnotic mirror, the sleeping potion and the Nightingale of Samarkand to
sing the Princess to sleep. Winnifred not only has a little trouble getting into her very high bed, she has
trouble staying on it once she's there! She's definitely having difficulty getting comfy, even with her
feathered friend's Lullaby. She decides to start over again - off the bed, bid everyone goodnight, then
back on top of those 20 downy mattresses. But it's no use. Bring on the sheep! She begins to count...
The next morning the Queen is certain her test has succeeded. How could anyone possibly pass the test?
In fact, she's already gloating over her success when Winnifred arrives on the scene...still counting
sheep! She hasn't slept a wink all night! That bed should be moved to the torture chamber! Dauntless is
delighted! Fred has passed the test after all and now he can be married--and so can Lady Larken and Sir
Harry! But the Queen doesn't give in quite so easily and begins haranguing Dauntless about his choice of
a wife. Dauntless has finally had enough and he shouts at his mother to “SHUT UP!” It's happened at
last--the mouse has finally devoured the hawk. The spell is broken, and now it's the Queen who can't
speak and the King's voice is back at last! Winnifred is exhausted. She really needs to get some sleep,
and now we see that it wasn't really that tiny pea that kept her awake all night, as her subjects remove
the Minstrel's lute, a helmet and other spiked and thorny objects from under the mattresses. Winnifred
can get a good night's sleep at last, and she does (“Finale”).
Source: "Synopsis." Once Upon a Mattress. N.p., n.d. Web. 04 Oct. 2014.
Character Descriptions
The Minstrel: He is an entertainer at heart. Not only is he the narrator of our story, breaking the
fourth wall and directly addressing the audience, but he is also a debonair musician that
mischievously works with his friend, The Jester, to help those in need within the Kingdom. The
Minstrel makes a living by traveling from kingdom to kingdom, singing his songs and telling his
stories. He is a man of the entertainment biz and therefore possesses the confidence of a
suave, debonair musician.
(Baritone/Tenor) Think: Corny Collins (Hairspray), Elvis Presley, Buddy Holly
MINSTRELMale tenor 20-35
The handsome narrator of the story, as well as in the musical story line. He becomes smitten with Lady
Larken and tries to persuade her to flee to Normandy with him. He and the Jester join forces to stop the
Queen's plans.
*** Ability to play basic mandolin or guitar a plus
JESTER
Male tenor
An energetic and peppy man who is the King's right-hand man and assists him
with every endeavor. The Jester also plots with the Minstrel to spoil the
Queen's plans. The Jester performs a basic soft shoe dance so need someone
who has basic dance ability or who can be taught. Improvisational skills a plus.
Princess No. 12: Princess No. 12 is the standard of femininity within our kingdom. She is
everything a princess should be. While this role only appears within the first scene of the show,
the overture is the story of how this princess prepares for her test within the Kingdom. She is
extremely nervous, as she knows that the entire kingdom is rooting for her. However, she is
confident in both her beauty and her brains.
Think: Audrey Hepburn, Cinderella
PRINCESS
Female 16+
NO. 12
She is the first Princess that the audience sees who is performing the rounds of tests. Very eager,
smart, thinks well on her feet – of course the Prince wants to marry her. She will also be part of the
ensemble.
The Wizard: The Wizard is the flamboyant personal assistant to the Queen. He is a fabulously
over the top man who takes himself extremely seriously. He also believes his classical magic
skills to be a dying art. He loves the current state of the Kingdom, as he and the Queen maintain
most of the power within the castle walls. He detests the Jester and is revolted by the arrival of
Princess Winnifred.
Think: Tim Gunn, Jack from Will and Grace, Wiggins from Pocahontas
WIZARD Male
The egotistical, ex-performer who directly serves the Queen. He is the Queen’s Henchman and thinks of all
the Princess’ tests. He prides himself in his position and basically obeys all of the Queen’s orders. Will
perform some basic magic tricks and some dancing. Requires good comedic timing.
Improvisational skills a plus.
Lady Larken: She is the ingénue within this production. Lady Larken is one of the Queen’s
ladies- in-waiting; therefore she is a prominent person within the Kingdom. Lady Larken has a
secret that could ruin her pristine reputation of perfect femininity, as she has broken the
“Marriage Rule” and has become pregnant with Sir Harry’s baby. She is madly in love with Sir
Harry and dreams of a happy life with her husband and child. She slowly unravels throughout
the show, fighting with Harry, insulting the Princess, and almost sneaking out of the Kingdom all
together. She desperately tries to be the perfect 1950’s era housewife, but through Larken we
see that this may be harder to do than she once thought. (Soprano)
Think: Sandy (Grease), Audrey Hepburn, Princess Anna (Frozen)
LADY
Female soprano 20-30’s
LARKEN Is the Queen’s lady-in-waiting but is put in charge of Princess Winnifred. She is madly in love with Sir
Harry and desperately wants to marry him because she is pregnant with his baby. She tries to flee the
Kingdom after having an argument with Sir Harry, but is convinced by Winnifred to reunite with him.
Sir Harry: Sir Harry is one of the most prominent Knights within the Kingdom. He is first in line
for the role of Prime Minister, and therefore has a lot to lose if anyone finds out that his
girlfriend, Lady Larken, is pregnant with his baby. He is a bit arrogant and thickheaded,
sometimes locked into the old-fashioned notions of 1950’s gender roles. He is strapping, strong,
and confident, but easily melted by Lady Larken. He is the image of masculinity and
knighthood. (Baritone)
Think: Gaston (Beauty and The Beast), James Dean, Link Larken (Hairspray), Hans (Frozen)
SIR
Male tenor 20-30’s
HARRY He is the Queen’s Champion-in-Arms - the Lancelot of Knights – the macho, egotistical, brave, romantic
knight who decides to leave the kingdom to search for a princess, and finds Princess Winnifred in the
swamp. Easily jealous, loves Lady Larken with all his heart. Harry cannot marry Lady Larken until Prince
Dauntless has found a suitable bride.
Queen Aggravain: She is the loud, talkative, opinionated, mother-bear-Queen of the show. She
is overbearing, over-protective, and delusional. She says she wants the best for her darling son,
but craves the power of the throne and the glamour of her life when she is in charge. The
Queen requires constant pampering, and feels as though life is almost too draining for a woman
of her sensitivity. She requires all of the women in her kingdom to adhere to the standards of
1950’s womanhood. She is threatened by Winnifred’s bold sense of self and confidence. She
relies on the advisement of the Wizard and talks down to everyone else in the Kingdom. She is
evil and should be played as such. (Alto)
Think: The Evil Queen (Snow White), Velma Von Tussle (Hairspray); Mother Gothel (Rapunzel)
QUEEN
Female alto 30+
AGGRAVAIN
The loud, talkative woman who really rules the country. She is an overprotective, stubborn, sly Mom
who is trying to keep her son, Prince Dauntless, from getting married. Requires good diction and
ability to speak quickly as she has long monologues that must be understood and delivered quickly.
Prince Dauntless: Prince Dauntless is the Mama’s Boy Prince of the Kingdom. When we first
meet Dauntless he lacks self-esteem and confidence. He bends to the rule of his mother, but is
brought to life with Winnifred’s passion and ability to make mistakes within the kingdom. He is a
character role, and should be played as mousy, meek, and extremely timid. The audience
should almost forget that he is a fully-grown man because of his boyish charm and appearance.
(Baritone)
Think: Seymour (Little Shop of Horrors)
King Sextimus the Silent: King Sextimus is the antithesis to Queen Aggravain. He is down-toearth, lovable, has an eye for the ladies of the kingdom, and is the ultimate troublemaker. Also,
he is silent. This actor will be asked to mime throughout the performance and therefore must
have impeccable physical acting ability. He is in charge of giving Dauntless “the talk” and is
extremely nervous to do so. He is charmed by Winnifred and is a truly loving father.
KING SEXTIMUS Male mute 40+
THE SILENT
A kind, expressive, playful, and comedic character who is silent due to a curse placed upon him
by a witch before the birth of Dauntless. He likes to chase girls through the corridors of the castle.
Needs good improvisational skills.
NOTE: Requires great facial expression and able to speak volumes with just a look.
Special skills a plus but not required. Anything you might be able to do that would add to this
character, such as yo-yo, paddle ball, juggling, etc.
Princess Winnifred the Woebegone: She is the protagonist of the show. Through Winnifred,
we see that a true princess is defined by her sense of self and ability to stay true to who she is
despite the judgment of others. Winnifred is loud, outgoing, and from the Swamp. She has no
regard for the Queen’s notion of “femininity”. Winnifred falls in love with Dauntless and feels the
pressure of the kingdom on her shoulders. She is lovable and quirky. Winnifred is a comedic
actress who is also a strong singer and dancer. (Alto)
Think: Mindy Kaling, Rapunzel, Princess Fiona (Shrek)
PRINCESS
Female Mezzo –20-30’s
WINNIFRED the
A feisty, outspoken, independent, strong, optimistic, and free-thinking princess from the swamp
WOEBEGONE
lands. She isn’t too good with manners. She wants to get married, but must go through the
queen's unfair test as well. The Prince, naturally, falls madly in love with her. Good
improvisational skills a plus. This is a very physical role (climbing, quick movements, dancing).
ENSEMBLE
The Ladies-in-Waiting and Knights are all waiting for the Prince to get married so that
THEY can get married to each other.
Some featured singing/dancing and few lines.
Queen’s Ladies-in-waiting:
·
Lady Rowena
·
Lady Merrill
·
Lady Lucille
·
Lady Helena
·
Lady Sarah
Knights:
·
Sir Luce
·
Sir Russell
·
Sir Michael
·
Sir Humphrey
·
Knight # 5
·
Knight # 6
Some singing/dancing and few lines.
SIR STUDLEY
Male. A member of the court who dances.
KITCHEN WENCHES
Women chased around the castle by King Sextimus
EMILY (Chambermaid)
LADY MABELLE
Female 18-25
She’s French and doesn’t understand English too well – she just tends to say “Yes” a
lot.
SIR HAROLD
Dance – Spanish Panic Lead
LADY BEATRICE
Dance – Spanish Panic Lead
NIGHTENGALE OF
A royal pet that sings a lullaby to put Winnifred to sleep either must be able to whistle.
SMARKAND
Servants, Knights,
Singing and Dancing Ensemble
Courtiers
There are four selections that will be used for auditions this year. Minstrel, Jester, Prince Dauntless:
“Many Moons Ago (beginning through measure 26); Sir Harry & Lady Larken, Prince Dauntless: “In a
Little While” (measure 3 to measure 33); Princess Winnifred: “Shy” (measure 24 through measure 58);
Queen: “Sensitivity” (measure 83 to end). If you are not sure which role you would like or you are not
interested in a particular role, pick the song that you feel best showcases your voice.
*The music selections and audition sides (readings) are uploaded as separate files. If you have any
questions, feel free to contact Mrs. Kuebler via email at: jkuebler@eastpennsd.org.
Once Upon A Mattress AUDITION FORM
Name ___________________________ID#___________ HR#_________ Grade_______
Home Phone #___________________ Cell Phone # _________________
Email Address _______________________________________
Parent Name(s)_________________________________________
Parent Cell Number(s)___________________________________________
Parent E-Mail Address(es)_____________________________________________________
Theatre, Vocal, and Dance Experience/Training: (Please attach résumé if you have one)
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
Can you read Music? Yes No
Vocal part (Circle all that apply): Soprano Mezzo Alto Tenor Baritone Bass
Are you willing to dye/cut your hair for the show? Yes No
Are you comfortable kissing onstage? Yes No
Do you have any other major commitments after school? Yes No
In order of preference, list which roles you are most interested in: 1. ____________________
2. _____________________ 3. ______________________
Will you accept any role in this production?
Yes No If not, which roles are you accepting?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Is there anything else you would like us to know?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
If not cast, are you interested in working backstage on this production? Yes No If yes, what positions are
you interested in? Costumes/Make-up______ Props______ Stage Crew______ Tech (lights/sound)_____
Please Note: The rehearsals for this production will run from January 4 – March 7, 2016. Music, acting
and dance rehearsals will generally be Monday - Friday from 3 - 6:00 pm. There will also be some
Saturday rehearsals. Rehearsals during tech week and dress rehearsals my go as late as 10:00 PM if
necessary. Please note, also, that conflicts will weigh heavily in the casting process. We are looking for
actors who have flexible schedules, or are available for all rehearsal times listed.
Weekly Conflicts: Please list ALL weekly conflicts below from 2:30PM to 6:00PM (Please include travel
time).
Monday
Tuesday
Wednesday
Thursday
Friday
Specific Saturday Conflicts: Do you foresee any engagements on Saturdays, or do you have any present
conflicts on Saturdays? If so, list ALL below from January 5, 2016 to March 13, 2016 (Please include
travel time)
Date
Conflict
Specific One-Time Conflicts: If you know of a date or dates between January 5, 2016 to March 13, 2016
during which you will be absent (i.e. vacations, appointments, etc.), please list them below. (Please
include travel time) Note: Conflicts will affect whether or not you are cast in this production.
Date
Conflict
KEY DATES
Auditions: December 14, 15
Callbacks: December 16, 17 (if needed)
Rehearsals begin: January 4
February 5: Last day for voice/music lesson conflicts
February 22-26: Tech Week
February 29- March 7 Tech/Dress rehearsals – no conflicts!
Sat. Feb. 20, 27; March 5: Tech/Dress rehearsals- 9am-6pm
Run of Show:
Preview (for senior citizen Gold Card holders): Tuesday, March 8 @ 6:00 PM
Wednesday, March 9, Thursday, March 10, Friday, March 11, Saturday, March 12 @ 7:00 PM
Saturday, March 12, Sunday, March 13 @ 2:00 PM
Snow make-up date: Monday, March 14 @ 7:00 PM
Sun. March 13, Mon. March 14, Tue. March 15: Strike* (mandatory set breakdown)
*Every cast and crew member (regardless of crew assignment) will be required to spend a minimum of
3 hours at strike.
Casting Policy
The directors always strive to cast fairly, with the guiding objective of assembling the overall
cast that will best serve the directorial vision for the show. This requires many hours of careful analysis
by the directors, who take their responsibility in this area very seriously. Our casting decisions are not
based on seniority or years of participation in the music and theatre programs. This is a programmatic
value arrived at after years of assembling casts and seeing the exciting results that can come from
having students collaborate across the grade spectrum from freshman to senior, each cast solely on his
or her fit for a given role as revealed through a rigorous and thoughtful audition process.
Auditioning for a show can be competitive and sometimes daunting. All students who audition
are considered equally in an inclusive environment in accordance with our casting principles. In the end,
the directors must choose the students who best fit the roles in many dimensions, both by the individual
skills they present in their auditions and by the dynamics that develop between actors who will be
creating the driving energy of the show in scenes together. Such dynamics are a large part of what is
explored in the callback round of auditions. For students, auditioning is an exciting yet difficult process
that can bring about greater success, whether they are cast in the production or not. The more a
student auditions, the more confident and comfortable with the process he or she will become. The
feeling of “rejection” over not being cast seems disappointing at first, but we strongly urge you to get
right back to work as soon as possible, whether in another role or as a member of one of our crews. In
theatre, as in life, all of us experience both disappointment and success. Our goal is to teach our
students how to deal with both, so when they leave Emmaus High School they will be prepared to
navigate their way toward success in a complex world.
To Parents:
Due to the large audition pool Emmaus High School shows typically experience, your child’s
audition does not guarantee him or her a role in the show. If your child is not cast, he or she may
schedule a meeting with Mrs. Kuebler and Ms. Cortez to discuss the audition. While disappointment for
some is an inevitable part of the experience in any competitive tryout situation, be it an academic,
athletic or artistic pursuit, one of the hallmarks of the EHS Drama Department is that there are many
other ways to get involved by working on the production as a member of one of our crews. We typically
begin crew sign-ups in early January; available crew positions are: stage/run crew, build crew, props
crew, costume/make-up crew, and sound/lighting crew. On and off-stage participants equally share the
wonderful spirit of camaraderie and collaboration that develops during shows.
Production Agreement
(Please read and fill out the following agreement.)
I agree to the following terms in this agreement and promise to abide by the conditions and
expectations set forth by my directors. I will dedicate myself as a true team member to this production
process in order to present a show that we, as a cast, crew, orchestra, and production team can be
proud of.
1. All actors, technical stage crew members and musicians should have fun working on this
production as collaborative artists. We expect a positive attitude, open communication, and
ownership from beginning to end.
2. All actors, crew members and musicians must be in good academic standing to participate in and
remain in this production. All participants are expected to maintain at least a “C” average, and are
expected to be in school during the day in order to participate in rehearsals and performances
after school.
3. All actors, technical stage crew members and musicians must be on time to all scheduled
rehearsals and technical crew duties. If late for three or more rehearsals, you may be asked to
leave the production.
4. All actors, technical stage crew members and musicians must be present at all scheduled
rehearsals. Rehearsals will generally run after school (2:45) until 6:00 PM and some Saturdays, 9
AM-6 PM. Tech and dress rehearsals may run until 10 PM. If you have three unexcused absences
from rehearsal, you may be cut from the production. In order to be excused you must have a
legitimate note explaining the reason for your absence. Valid excuses are illness, a death in the
family, etc. It is also important to turn in all notes to Mrs. Kuebler and to notify her in advance if
you cannot attend a rehearsal. Communication is the key to good relationships during a
production.
Signature page
Please sign below to indicate that you have listed all your conflicts above, understand the time
requirement and have read the complete Audition Packet:
Student name ________________________________________
Student signature _____________________________________ Date__________
Parent name___________________________________________
Parent signature ______________________________________ Date__________
Thank you again for your interest in being part of our production, and best of luck at auditions!