VERY IMPORTANT YOU READ ALL OF THIS FIRST!!!
Seriously…don’t jump to the cast list until you’ve read ALL OF THIS!!!!!
Not kidding….VERY, VERY important!
Just be patient and read the next few pages FIRST.
Congrats to everyone who auditioned for Three Musketeers! It was an honor watching everyone show their very best!
As all of you know, casting is an incredibly difficult job. A director always hopes to work with everyone who comes prepared, with
ideas, and with great energy, but no script allows for every auditioner to be cast.
Despite this, I sincerely hope those of you not on this cast list will consider working with us in other capacities. We are in need of
sound designers (finding music for the show, creating music and sound effects, etc.) Lighting operators, Props Masters/mistresses
and managers (who can handle all of the weapons?), makeup designers and artists, costume designers and masters/mistresses,
special effects corps, construction crews, house managers, marketing…there is so much MORE to the theatre than getting onstage,
and those are the roles that really make the magic happen! Please see Mr. Staggs ASAP to claim your spot!!!
For those who are on the cast list—congrats once again! Please read the following carefully as there is a very small timeline for
committing to the show (those of you who know someone who doesn’t have internet access please share this with them):
1. Please remember we are here to tell the best story we can tell. As the director, I am in charge of casting, and I see everyone
as an absolute perfect fit where they are in this story. You may not agree with my choices, but they are the choices I have
made and will not change. Please leave your ego at the door and consider the great things you can do with the role you’ve
been offered. Love the Art in you, Not You in the Art.
2. YOUR DEADLINE FOR TOTAL OFF BOOK IS THE FIRST BLOCKING REHEARSAL: TUESDAY, FEBRUARY 8. NO EXCEPTIONS.
FAILURE TO GET LINES DOWN, NO MATTER THE SIZE OF THE ROLE, WILL RESULT IN RECASTING. WITH THE AMOUNT OF
WORK WE HAVE AHEAD OF US, THIS IS NON-NEGOTIABLE.
3. Print off everything in this document and bring with you on Monday, February 1, at 7:00pm (parent meeting). You are all
required to be at the meeting with all of this paperwork, your check (if you haven’t yet turned in) your script, a notebook,
pencils, and your parent(s).
4. We will read through the script Tuesday, February 2, and Wednesday, February 3, from 4:00-6:00. You must be in attendance
both days. No exceptions.
5. Email Mr. Staggs at William.staggs@lcps.org to accept the role. In the email, include your name, the role(s), and confirmation
you accept the role.
6. I’m very excited, guys! Come ready for some fun, intense swashbuckling!!!
DID YOU READ EVERYTHING CAREFULLY???
Fight Rehearsals
THINGS YOU SHOULD BE AWARE OF
Or, what to expect when working on a show with a lot of fights in it.
A fight-heavy show like The Three Musketeers requires a lot of stage combat choreography. A fight rehearsal isn’t like most
rehearsals. Those who have done a lot of musical theater, will notice it’s a lot like a dance rehearsal. We construct choreography and
set large amounts of movement to the scene as it’s written.
Here is what’s expected of you at a fight rehearsal:
1)
COME DRESSED TO WORK – Movement clothing. Sneakers, workout clothing. Empty your pockets. You’ll want a free range
of movement. Gloves (think baseball gloves or leather gloves) will help keep your hands comfortable. Do not show up in
clothing you can’t move freely in.
2)
LEARN YOUR LINES – It’s much easier to set a scene and work in the dialogue if you know the dialogue. A sword in one hand
and a script in the other is very awkward.
3)
YOU ARE RESPONSIBLE FOR YOUR CHOREOGRAPHY – Take notes and walk through your fights on your own time. We will
be taking cell phone videos as part of the rehearsal process, but DO NOT share or post those videos anywhere. First, they are
an unpolished part of the process and it’ll ruin parts of the show for people who will come to see it. Second, the
choreography is a copyrighted artistic work and is the intellectual property of the choreographer. So, don’t be that guy.
4)
YOUR JOB IS TO DO YOUR BEST – Abandon negativity. You’ll be learning a brand new skill set, so don’t be hard on yourself.
Enter this process with four words in the front of your brain; “I’ll try my best.” It’s the choreographer’s job to make you look
good, trust them, and do your best. With that in mind, however…..
5)
BE HONEST AND AWARE OF YOUR PHYSICAL LIMITATIONS – Everybody has their limits and limitations. Your job is not to
push yourself until you hurt yourself or someone else. Communicate your needs to your choreographer and they will work
with you on them.
Loudoun Valley High School Theatre
Some Basics
The Loudoun Valley High School Theatre Company is a group of theatre artists who are dedicated to excellence in theatrical performance, collaborative endeavors, and artistic
growth within the community. It is a strong, supportive group who avoids excuses, personal problems, and personal ego satisfaction. We are focused on one major objective—
excellence through theatrical experience. Those before you have set the standard. It is your job to meet and exceed that standard. Our motto is “Get The Job Done!”
Guidelines and Expectations:
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Read the call board morning and afternoon—It’s your job to get the word.
Be early to rehearsal and focus/warm up. “To be early is to be on time…”
Respond to all Stage Manager requests by repeating the request and “Thank You.” For example, if the Stage Manager says, “Put away all props,” actors should respond
with, “Put away all props, thank you.”
There is no such thing as “I can’t be at rehearsal today.” All conflicts have been recorded based on your audition information sheet. Theatre, like all worthwhile
activities, requires commitment and sacrifice. HONOR YOUR COMMITMENT.
Reliable transportation is required. I will do my best to follow the set schedule. Please make sure those providing transportation for you are aware of the schedule and can
work with it effectively. IF YOUR RIDE IS CONSISTENTLY LATE, THIS WILL AFFECT CASTING DECISIONS. You need to be picked up at the Fine Arts Wing
door..
Stay healthy—physically, vocally, mentally. “Leave your baggage at the door.” Significant issues that affect the rehearsal process will affect casting decisions.
Get Off Book (deadline 2/8/16)! “Learn them or lose them.” We can’t act with scripts in our hands!
Be passionate in your work—low energy work doesn’t exist here!
Do your table work FIRST—Script Analysis—Word Meanings, pronunciations, character objectives, tactics, actions, motivations, etc.
Be absolutely focused at all times.
Be able to take and use constructive criticism. Work your notes daily!
Don’t direct other actors. The director directs. Actors help other actors without “telling” them what to do.
Do not alter your appearance (hair cuts, dyeing hair, piercings, etc.) without first consulting the director. The cast was determined in part on the appearance of actors.
Alterations without approval may result in recasting.
Come prepared—lines memorized, script, notebooks, pencils, props, attitude, costumes, table-work assignments, etc.
Bring HIGH ENERGY and something new to your role each rehearsal. The best work is done on your own!
Work well as an ensemble.
Put props and other rehearsal stuff away neatly!
Manage your time so you don’t get stressed out.
WORK YOUR NOTES!!! WORK YOUR NOTES!!! WORK YOUR NOTES!!!
Have fun!!!
ALL casting decisions are “tentative.” If you have difficulty following the guidelines, casting decisions may be altered. “Someone is always waiting in the wing for their
moment…”
______________________________________________________________________________________
“Excellence Has A High Price, and The Theatrical Muse Does Not Visit Lazy People”
______________________________________________________________________________________
Sign And Return This Sheet at the First Meeting, Monday, February 1, 2016. KEEP ONE ORIGINAL.
I Can Get The Job Done____________________________
Date____________________________________________
Rehearsal Schedule 2/1-2/12
Mon, 2/1—7:00pm—Parent and Cast Meeting—ALL REQUIRED TO ATTEND WITH PAPERWORK, SCRIPTS, etc.
Tue, 2/2—4:00-6:00—Read Through, day 1
Wed, 2/3—4:00-6:00—Read Through, day 2
Thu, 2/4—DARK (Forensics rehearsal)
Fri, 2/5—DARK
Mon, 2/8—DARK (Forensics)
DEADLINE FOR OFF BOOK!!!!!
Tue, 2/9, 4:00-6:00—Block 1.1 and 1.2
Wed, 2/10, 4:00-6:00—Block 1.3
Thu, 2/11, 4:00-6:00—Review and work 1.1, 1.2, 1.3
Fri, 2/12—DARK
NOTE: Fight Choreography will begin sometime during the first two weeks. You should be prepared…start stretching!!! Also, fight
Choreography Calls may happen on some Mondays, Fridays, and Saturdays. We will let you know as soon as possible…in order to be
in a scene, you MUST be in attendance!
SCENE/CHARACTER BREAKDOWN FOR THREE MUSKETEERS
1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.10 1.11 2.1 2.2 2.3 2.4 2.5 2.6 2.7
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D’artagnan
Athos
Porthos
Aramis
Cardinal R.
Rochefort
Stanley
King Louis
D’art Father
Basille
Fache
Treville
Duke of Bucking
Ravanche
Innkeeper
Debris
Sabine
Milady
Old Woman
Constance
Adele
Sister @ School
Queen Anne
D’art Mother
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Elise
Mother Superior
Abbess
Guards/Bar/Party
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THREE MUSKETEERS CAST LIST
D'ARTAGNAN—Steven Greene
ATHOS—Jackson Herwig
PORTHOS—Darius Fraser
ARAMIS—Jake Stapleton
CARDINAL RICHELIEU—Charlie Trochlil
ROCHEFORT—Noah Wade
STANLEY—Andrew Burks***
KING LOUIS XIII—Luke Wagner
D'ARTAGNAN'S FATHER—Henry Trochlil***
BASILLE—Jonathan Jacobson
FACHE—Zahl Azizi***
TREVILLE—Henry Trochlil***
DUKE OF BUCKINGHAM—Jonathan Jacobson
RAVANCHE—Mariel Clark***
INNKEEPER—Mariel Clark***
DEBRIS—Zahl Azizi***
SABINE—Megan Greene
MILADY—Abby McDonough
OLD WOMAN—Maddie Clark
COSNTANCE BONACIEUX—Charlotte Twetten
ADELE—Megan Horgan***
SISTER AT SCHOOL—Taylor Blake
QUEEN ANNE—Pateley Nichols
D'ARTAGNAN'S MOTHER—Maddie Clark
ELISE—Taylor Blake
MOTHER SUPERIOR—Maddie Clark
ABBESS—Taylor Blake
GUARDS, BALL ATTENDEES, BAR PATRONS, ETC: Claire Poirier
Katie Stine
Quinn Weir
Onna Thomas
Zach Goolsby
Brendan Wagner
Ian Carlson
Cole Walker
***Denotes those cast members who will also be Guards, Ball Attendees, Bar Patrons, Etc. All will be dancing, fighting, “drinking”