BIG FISH AUDITION PACKET Auditions are November 16th starting at 9am. When you come to auditions, you will sign in with Madison Aquilone, the stage manager. Call backs will be the week of November 18th after school. Be prepared for a read-through on Wednesday or Thursday of that week once the cast list has been posted. The show is March 27, 28, and April 2-4. When you are offered a part in the show, you are asked to make a commitment to be at rehearsals and to be a positive contribution to the ensemble. Rehearsals are Mondays through Thursdays and some Fridays and Saturdays. Not everyone is asked to be at every rehearsal. You are asked to be at every rehearsal for which you are scheduled. This varies by role. Cast and crew members are permitted one unexcused absence. There are a few Saturday rehearsals. Once production week starts, all rehearsals are mandatory for the entire cast and crew. This means that if you are absent for any reason, you will be removed from the show and your role will be filled by someone else. This is for both cast and crew. Production week starts on Monday, March 16. If you cannot commit to being here those days, please do not audition. There is a $125 activity fee to help offset the costs of the show and script and music book rentals. This does include the cost of your show t-shirt. You will be able to keep your libretto this year. We are also purchasing individual stage makeup kits for each cast member to use for the production. We will have a parent information night after the cast list is posted to go over more details specific to the production. One of the main themes of Big Fish is ‘creating something from nothing.’ To that extent, this process will be creative, collaborative, and lots of fun. Please remember that we are looking for a diverse cast filled with hard-working people with a variety of talents. The creative process looks to be very collaborative, so come ready to show us that you care about the show, have put in some research and are looking forward to being a part of it. CAST AUDITION REQUIREMENTS Note: we do not require you to bring a headshot or additional resume to the audition, we will be taking your photo and giving you a form to fill out with all the information we will need. Vocals: Please prepare a song from a musical of your choice that shows off your vocal ability and range. We will not provide a pianist. Please feel free to bring your own backing track (that has no vocals on it). You are also welcome to sing acapella. Please do NOT prepare a song from Big Fish. We are only asking for about a minute (32 bars) and may cut you off at any moment. Pick songs that are comfortably in your range. If you are interested in a principal role, pick a song from another musical that you think properly showcases the range and style of the character; perhaps even find a song about a similar topic. Focus on comfort, style, and vocal health as opposed to pushing beyond your range. Acting: Big Fish is all about the power of storytelling. At the very end of this package is a list of one-minute monologues. Please prepare one of these to perform at your audition. We do not expect you to memorize it, and we will have paper copies when you arrive at the audition. We want to see how you tell a compelling story and encourage you to make it as thrilling or as somber as you’d like! Please do not bring a monologue that isn’t in the package. Remember to be loose, have fun, and make sure to tell the story! Dance: There will be a dance audition separate from these initial auditions on the same day in the morning. If you cannot make this dance audition, it is crucial that you let us know immediately. If you have additional interest in the role of Dance Captain, please be sure to let us know during your audition. Synopsis Big Fish tells the larger-than-life tale of Edward Bloom, a man who leads an extraordinary life— according to the stories he tells his son, Will. But Will, who is getting married and expecting a child of his own, doesn’t think there’s any truth to the extravagant tales his father tells about meeting witches, kissing mermaids or joining the circus. He doesn’t even believe the story of how his father proposed to his mother, Sandra, in a field full of daffodils. When Edward’s health begins to decline, Will visits his father and tries one last time to find out the truth behind the tall tales. As Edward and Will’s relationship becomes increasingly strained, Will must decide whether to accept his father’s wild stories as fact or risk losing him completely. Our production of Big Fish has 25-40 performance positions to be filled. There are 10 principle characters (please find the character descriptions below) and two ensemble groups. First, there will be a core of 6-10 ensemble dancers who will be appearing throughout the show to help support the plot with both improvised and structured movement. They will take the story to the next level using creative movement, technique, and elevated performance. These performers should have a strong presence and acting skills, as they will be playing a variety of characters. Minimum 1 year dance background is required. Tap is an asset. The rest of the ensemble will consist of 10-20 performers who will play all other characters in the show. This ensemble will be very active both in the creative process and in the actual performance. The chosen performers will play a large variety of roles throughout the performance. Basic dancing, singing, and acting skills are required for all (in addition to a positive attitude, strong work ethic, and storytelling ability.) The 10 Principles are as follows: Edward – MALE—this actor plays a young man, a middle-aged man, and an older man. Older Edward is a charming, charismatic storyteller. A devoted yet absent father nearing the end of his life and wanting to reconnect with his son. He is comfortable in his own skin, but hopes for Will’s approval. He absolutely loves his wife, his son, and telling stories. Younger Edward is an enthusiastic, optimistic, energetic romantic. He needs to steal our hearts and make us buy into the fabulous myths that he enters. He is the quintessential hometown boy hero. Needs to have a strong baritone, with the ability to reach some higher notes (must sing comfortably up to a G4.) Has to be a strong mover and competent dancer. This role is very demanding and onstage nearly the entire show and must be played with an actor with range, energy, and authenticity. (bari-tenor G2 to G4) Sandra – FEMALE— this actor plays Sandra as an older woman, a middle-aged mother, and a young teenage girl. Older Sandra is patient, calm – the perfect balance to Edwards enthusiasm. She adores and appreciates Edward and tries to bring reconciliation to her husband and son, both of whom she loves. As a young woman, Sandra is a lovely, sweet, fresh-faced, innocent girl excited by the possibilities of life. She appreciates Edward’s romantic viewpoint. This role is versatile, expressive and demanding. She will need to be a strong dancer, with basic tap ability. An exceptional voice and presence are required, as is a strong understanding of the text. (Mezzo or soprano with mix/belt, G3 to E5) Will — MALE— Will is a critical part of the story. He is an earnest, serious, thoughtful young man wanting to reconnect with his storytelling father, but unable to appreciate Edward’s romantic view of life. He is a successful professional and new husband. He has to be able to take us on the journey of understanding and make us believe the complex relationship and final heartfelt embrace of his father’s legacy. Needs a strong tenor voice for a beautiful, yet difficult solo song. No dance. Serious character acting with the ability to be authentic, likeable, and emotional. Is onstage for a lot of the show. (Tenor, C3 to G4) Josephine – FEMALE— Will’s wife. Successful adult, sweet, intelligent, and organically compatible with Will. Josephine acts as the bridge between Edward and Will, explaining the deeper meaning of the stories. Has very little singing and no dance. A role for a lovable character actress who may not be the strongest singer/dancer. (mix/belt to C#5) Karl: the Giant —MALE-- Edward’s best friend. Karl is shy, exceptionally intelligent, hermit-like, and has a quiet charisma. He needs a booming voice and large personality. Needs to be decently tall, but not a “giant.” Limited singing/dancing, but Karl has tons of tricky and specific comedic timing. (Bass, A2 to D4) Amos – MALE— Amos is the rather eccentric, quirky owner of the circus that employs young Edward. He also happens to be a werewolf (in Edward’s tales). Needs an actor able to portray strong, outgoing personality and humor. Sings, but not necessarily great voice. Doesn’t need to dance well, but an entertaining and watchable stage presence essential. Show us a character!! (Baritone, C3 to F5, touches a G5) Witch – FEMALE— This needs a commanding performer with great confidence and storytelling ability. She convinces Edward to pursue his big life without fear. Needs belt voice, and strong dancing skills. (Mezzo with high belt, F3 to F5) Jenny Hill – FEMALE— young cheerleader. Edward’s devoted, first girlfriend. She is beautiful, a dreamer, maybe a little ditzy. Needs a loud belt. Some movement. Not a huge role but has a very important scene later in the show as her older, more tired, disillusioned version of herself. This role needs a committed and authentic actress to craft an honest and heartbreaking character who helps the audience understand the larger themes of the show. (Mix/belt to E5) Don Price – MALE—Edward’s older, snarky bully and Sandra’s first fiancé. Eventually, he becomes Edward’s rival, but behind him in every war. This is not as easy a role as you’d think. It requires a bigger than life acting style, some strong movement, and some vocal chops. The audience needs to see how little Edward lets Don’s jealousy affect him. (Baritone, C3 to F#4) Zacky Price--MALE—Nerdy brother and shadow of Don Price. May cast as female. (Tenor, C3 to F#4) Technical Roles We are looking for several technical positions. Please speak to Mrs. Winters directly if you are interested in helping out with stage management, booth, props, or costumes. AUDITION MONOLOGUES Mrs. Armstrong, a veteran Christmas pageant director, is dedicated to ensuring one church’s amateur stage adaptation of the story of Jesus’ birth does the Bible justice. This is her lecture on how she likes to cast the pageant. “Let me tell you again, Grace, how important it is to give everyone a chance! Here’s what I do — I always start with Mary and tell them we must choose our Mary carefully because Mary was the mother of Jesus… Yes, and then I tell them about Joseph, that he was God’s choice to be Jesus’ father. That’s how I explain that. Frankly, I don’t ever spend much time on Joseph because it’s always Elmer Hopkins, and he knows all about Mary and Joseph, but I do explain about the Wise Men and the shepherds and how important they are. And I tell them, there are no small parts, only small actors. Remind the angel choir not to stare at the audience, and don’t let them wear earrings and things like that. And don’t let them wear clunky shoes or high heels. Oh, another thing about the angel choir. Don’t let them wear lipstick. They think because it’s a play that they have to wear lipstick, and it looks terrible. So tell them…. And, Grace, don’t use just anybody’s baby for Jesus… get a quiet one. Better yet, get two if you can… then if one turns out to be fussy, you can always switch them. Got it?!” From You’re a Good Man, Charlie Brown; the infamous declaration by Lucy Van Pelt who intends to be queen! “Do you know what I intend? I intend to be a queen. When I grow up I’m going to be the biggest queen there ever was, and I’ll live in a big palace and when I go out in my coach, all the people will wave and I will shout at them, and…and…in the summertime I will go to my summer palace and I’ll wear my crown in swimming and everything, and all the people will cheer and I will shout at them… What do you mean I can’t be queen? Nobody should be kept from being a queen if she wants to be one. It’s usually just a matter of knowing the right people.. ..well. if I can’t be a queen, then I’ll be very rich then I will buy myself a queendom. Yes, I will buy myself a queendom and then I’ll kick out the old queen and take over the whole operation myself. I will be head queen.” Pete rants about his new co-worker, getting more over-the-top as he goes. “My co-worker is the most annoying guy in the world. I should have wondered why he was so overly nice at the start. I thought it was just good manners but it was purely desperation. You see, the guy is a douchebag, alright? There, I said it. I don’t mean to sound mean and I know I probably do but you don’t understand. But here you go, every morning when I get to the office, I go into the break room for my morning cup of coffee, this is my moment, the moment I get before dealing with my loser of a manager and all the others I have to smile at and report to. It’s this one little coffee moment, by myself, in the quiet of my tortured life. But noooo, I have fantastic Andrew popping in now because he knows, he knows I’m all alone, so he jumps at the opportunity to speak to me with his cheese and fart breath, about whatever it is he did the night before, which is absolutely nothing all that interesting, whatsoever. (imitates Andrew) “I leveled up in my game man, I leveled up!” Who cares man? It’s just that he’s so over the top and I don’t know how to get him to have a normal barometer on the whole co-work friend thing!!” Linda tells the embarrassing story of her first kiss at summer camp. “First time I ever kissed a boy was at summer camp. I was in a row boat competition. It was a “who can row the fastest” competition and this kid Josh and I came in first place together. We were so excited we ran off together towards the woods. It was then that Josh kissed me, right up against the tree. But then something drastically went wrong. I had braces and…so did he. Our faces or I should say, teeth locked together as one. We couldn’t separate! We had to walk back through the woods and all the way across the entire camp with our faces mended together. EVERYBODY took notice of us and started watching. By the time we found the first camp counselor, we had a crowd surrounding us. I was never so embarrassed in all my life. And to make it worse, the counselor kept asking us stupid questions like, “What happened here? How could this have happened?” And Josh and I are trying to talk and explain while drool is leaking out the side of our mouths. Horrifying! Eventually, paramedics came and they used some sort of separation clippers to detach our mouths. That was my first kiss ever…what was yours like?” Mel tells his brother how much he appreciates being able to stay at his brother and sister-inlaws house for two years (even when it was only supposed to be two days.) “Hey Billy, hey…how ya been? I know I said I’d be here two days and as it turns out it’s been two years but it’s kind of hard leaving this place cause it’s become home for me. You and Becky have really, really, really made me feel welcome. I know I don’t say it much but thank you. Thank you for letting me live here, eat your food, drink your beer, wash my dirty clothes, allow me to sleep late into the day and smoke my cigarettes late into the night. You and Becky are the best two things that ever happened to me in my pathetic, useless life. I know I make no contributions whatsoever and haven’t worked since I landed on your doorstep but hey, I’m a hoot, right? I know I sure make you guys laugh and shake your heads. Maybe life would be more mundane if I weren’t around. That’s all I’m saying to ya. Gonna go rock a nap. Peace.
