Audition Packet
KCP – Les Miserables Information Sheet
CAST EXPECTATIONS:
• BE ON TIME—THAT MEANS AT LEAST 5 minutes before you are called! You MUST call if you will be late or miss.
Failure to comply with this policy WILL result in your role being re-cast.
• Each cast member is asked to pay a minimal activity fee (usually about $10). This is applied to expenses for scenery,
costumes, props & stage make-up. Your donation or loan of such items is greatly appreciated. If this activity fee
causes a financial burden for your family, you may speak with Arlene Trettin, president of KCP, and make alternate
arrangements.
• Each cast member MUST return the Medical Information and Release Form NO LATER THAN JUNE 3rd.
• Make sure you bring a pencil, script, & all needed papers to rehearsal. Please study the schedule and other
paperwork.
• Display commitment & dedication to your role(s). Study music/lines/characters and practice your part OUTSIDE
rehearsal hours. You are expected to perform your role(s) to the best of your ability; to implement notes given by
the director, to memorize your part and/or meet tech needs by their deadlines, and willingly recognize & challenge
your current performance limitations. You are expected to give 110% energy & focus!
• No eating or drinking in the auditorium or in costume without permission from the costume designer or stage
manager (bottled water is the ONLY exception)!
• Exhibit professional behavior. You are expected to focus on the show at rehearsal. Our musical is work! Be
prepared! Rehearsals are NOT for socializing, memorizing or personal business. You are expected to exhibit selfmotivation and responsibility. You are expected to keep up with your belongings!
• Practice healthy habits. You are expected to wash your hands frequently, eat a healthy diet, and sleep enough to
minimize sickness. NO yelling or screaming—these cause vocal strain and will damage your singing voice!
• You MUST NOT get any new piercings or tattoos during the production process. You MUST get prior approval from
the costume designer before cutting and/or coloring your hair during the production process.
• Kaukauna Community Players is proud to have been providing family and community entertainment for over 30
years. Behavior, dress, language, conversation, attitude & demeanor not conducive to a supportive, uplifting
environment will NOT be tolerated! We MUST function as a team and support our weakest links to have a strong
show. Cast members are expected to respect AND encourage each other, the staff, and rehearsal venue. NO
fraternizing during the process. HAVE FUN! Inappropriate conduct or dress WILL result in your role being re-cast.
SET CONSTRUCTION AND CREW
EVERY CAST MEMBER is required to put in 3 hours of tech work prior to show opening. This can be done on
construction/painting weekends, lighting hang and focus, or during a crew day.
• All hours will be tracked by the tech designer, artistic director or stage manager.
• Times will be made available at the beginning of rehearsal.
• Failure to meet shop/tech hours may result in your role being re-cast.
SCRIPTS and MUSIC:
• The script and music you received must be returned, but you must keep up with them throughout the
production. *There will be a replacement fee for scripts/scores/CD’s that are lost or damaged beyond use.
CAST DRESS CODE:
• Cast members should wear clothes that allow for a free range of movement and physical activity but MUST
adequately cover the body and not expose undergarments or midriffs. NO short skirts or short shorts, no
muscle shirts or tank tops on boys.
• Flip-flops, “Heelies,” “Crocs,” or other loose shoes are not allowed. Cast members should wear shoes
appropriate for rehearsal and the shoes for performance as soon as possible in the rehearsal process.
Violation of the Dress Code may result in the cast member being sent home and possible re-casting of the role.
•
REHEARSAL CONFLICTS:
• We try as best we can to minimize possible conflicts. Only conflicts written on your Audition Form are approved by
the directing team.
• Other conflicts that may arise during the process will be handled by the Directing Team on a case-by-case basis.
Chances are if it is not included on your Audition Form, you will NOT be excused from rehearsal; however we are
reasonable people and understand life’s emergencies. Multiple schedule conflicts not already logged may result in
re-casting your role.
• You MUST call or email the Artistic Director BEFORE THE READ-THRU if other conflicts are apparent to you. Once
rehearsals begin, you MUST contact your Stage Manager to report conflicts or with questions.
• NO CONFLICTS ALLOWED the week of TECH/DRESS Rehearsals. NO ONE MAY MISS TECH/DRESS OR PRODUCTION.
This is a deal-breaker and your role WILL be re-cast, even if it is one day before the show.
SPECIAL REHEARSALS:
• Our show requires a big commitment and we want to reward the cast members sacrifice and hard work with a
little FUN! The special rehearsals are dependent on the progress of the show and will be on an already
scheduled day.
PERSONAL AD SALES:
• A “Break-a-Leg” Ad is a great way to encourage and support performers and for us to help cover the costs of a
production.
• We ask EVERY CAST MEMBER to sell at least one ad.
• Deadline for Ad Sales are at least three weeks prior to opening night. Ads received after the deadline may not get
added into the show program.
CORPORATE AD SALES:
• In addition to personal ads we will be selling corporate ads for the program.
• EVERY CAST MEMBER is encouraged to send out 3 corporate ad forms.
• Deadline for Corporate Ad Sales are three weeks prior to opening night.
T-SHIRT ORDERS:
• CAST has t-shirt designed for each production for cast members only. T-shirts can be ordered at the price we
pay—we do not make money from these orders.
• Deadline to order t-shirts is usually EARLY in the production process so cast members can advertise the show.
DVD ORDERS:
• Production DVD’s are usually available ONLY to cast members for summer productions.
• Price may vary but generally runs $10 each.
CAST Policies and Procedures are subject to change as deemed by the CAST Artistic Director and/or CAST Steering
Committee.
Les Miserables AUDITIONS
Role Auditioning for:_____________ Would you accept a different role: yes / no
Please Print Neatly!
NAME_____________________________________ PHONE____________________________
ADDRESS____________________________________CITY/ZIP________________________________
EMAIL ADDRESS_________________________________________________________________
HEIGHT_____ T-SHIRT SIZE _____ PANT SIZE ______
HAIR COLOR ______
WOULD YOU BE WILLING TO CUT OR DIE YOUR HAIR IF NEEDED FOR ROLE? Yes / No
ALL STUDENTS ONLY: School_______________________ Age ______
Grade________________
(Right now/just finished)
HOW DID YOU FIND OUT ABOUT AUDITIONS TODAY?
PLEASE DESCRIBE BRIEFLY WHAT YOU ARE WEARING:
(it helps us remember who you are!):
TITLE OF SONG:___________________________________________________________
VOCAL TYPE: SOPRANO
SOPRANO II
ALTO
TENOR
BARITONE
BASS Don’t Know
PLEASE LIST ALL CONFLICTS YOU WILL HAVE WITH THE POTENTIAL REHEARSAL AND
PROMOTION DATES (WORK, VACATIONS, CLASSES, SPORTS, CAMPS, etc.), ESPECIALLY THE
WEEKENDS:
WHAT MADE YOU AUDITION FOR THIS SHOW?
IF NOT CAST IN THE SHOW WOULD YOU BE WILLING TO WORK BACKSTAGE?
IF YES- WHAT AREAS INTEREST YOU?
Yes
No
PLEASE LIST ANY PREVIOUS THEATRICAL OR PERFORMING EXPERIENCE ON THE BACK
OF THIS PAGE OR ATTACH RESUME.
***PERFORMERS: I have read through the Information Sheet. I am fully aware of my
responsibilities to this production should I be cast and understand that this is a
commitment for myself and my family should they be in the area. I agree to fulfill my
commitment to the show.***
_______________________________________________
SIGNATURE (PARENT SIGNATURE IF UNDER 16)
_________________________
DATE
WHAT TO EXPECT AT LES MIS AUDITIONS
• Every person auditioning will be required to sing approximately 30 bars (about 1
minute) of ANY musical theatre piece. Please bring sheet music, an accompanist will be
provided. NO CD’S OR ACAPELLA ALLOWED.
• It is recommended that you do not sing from the show unless you are sure that by
singing the selected song you will make the director realize no one would be better than
you in that role.
• Remember that your singing audition is ALSO your acting audition.
• There will be no dance audition for this show.
• If needed, call backs will be on Thursday, March 21st.
FREQUENTLY ASKED QUESTIONS
1. “What should I wear?”
Dress comfortably. It is not necessary to dress up to audition but it might not hurt to dress in a manner that
reflects a certain role or type of role you’re interested in. It is never advised to wear a “costume” to audition (like
wearing a little red dress to audition for the role of Annie).
2. “How many people will I be auditioning with?”
Auditions are held in front of the artistic director for the show and sometimes the musical director for musicals.
You will be called in in small groups of 4 or 5 people to audition- it won’t be in front of everyone that’s auditioning.
3. “How long do auditions last?”
The actual audition time for your group will be 10-15 minutes; how long you’ll actually be at auditions depends on
how many people show up to audition. If you arrive close to the start you will most likely be done earlier than
someone who arrives a little after the start time. Everyone could be done in 30 minutes; other times it might take
a few hours to get through everyone.
4. “I’ve looked at the potential rehearsal schedule and I have some conflicts. What should I do?”
There is usually some flexibility with the schedule as everyone has busy lives. Not everyone will be needed at
every rehearsal- it’s possible your conflicts will not really be conflicts once the final schedule is handed out.
Obviously the show dates and the week leading up to the show are the most important. If you see a large number
of conflicts then you might ask the director about them or you might decide that this isn’t the right time to audition.
5. “I can’t make either audition night- what are my options?”
Call the artistic director at 920-470-6807 or email at vandenhj@uwec.edu. If we can arrange other
accommodations we will try. Sometimes this is possible; sometimes it’s not. But it’s always better to ask than
assume it won’t be possible.
Schedule*
All rehearsals are scheduled from 6:30-9:30 unless otherwise noted.
May
M 20th
W 22nd
TH 23rd
Read Through/Script Pick Up
Music
Music
Full Cast
Full Cast
Full Cast
M 27th
Music
W 29th
6:30 Music
7:30 Music
Blocking
Blocking
Valjean, Javert, Fantine, Eponine, Cosette’s,
Marius, Mr and Mrs Thenardier,
Full Cast
Students, Gavroche, Valjean, Javert
Scenes 1-7
Scenes 8-11
M 3rd
T 4th
Blocking
6:30 Blocking
8:30 Blocking
Act 2 Scenes 1-3
Act 2 Scenes 7-8
Act 2 Scenes 6,4,5
TH 6th
F 7th
Music
Music
Act 1
Act 2
SUN 9th
M 10th
T 11th
OPTIONAL TECH DAY FROM 12-8 TO GET YOUR 3 HOURS
Review
Act 1 music and blocking
Review
Act 2 music and blocking
TH 30th
F 31st
June
****ALL OFF BOOK****ALL OFF BOOK****ALL OFF BOOK****
****ALL OFF BOOK****ALL OFF BOOK****ALL OFF BOOK****
W 12th
Run Show
Full Cast
th
Th 13
Trouble spots
Full Cast
SAT 15th
OPTIONAL TECH DAY FROM 9-6 TO GET YOUR 3 HOURS
Sun 16th 3pm Sing thru with Orchestra 3pm
Full Cast
3pm
M 17th
T 18th
W 19th
TH 20th
SAT 22nd
Act 2
Full Cast
Act 1
Full Cast
Trouble Spots
Full Cast
Run Show
Full Cast
2pm First Tech with Cast no mics
5pm Dinner Break
5:30 Mic Check
6pm Dress Rehearsal (only needed costumes)
SUN 23rd
M 24th
T 25th
W 26th
TH 27th
F 28th
POSSIBLE 2pm REHEARSAL DEPENDENT ON SHOW PROGRESS
6pm CALL
6:45 Full Dress Rehearsal
6pm CALL
6:45 Final Dress Rehearsal
5:30 CALL
6:30 Warm Ups
7pm CURTAIN
5:30 CALL
6:30 Warm Ups
7pm CURTAIN
5:30 CALL
6:30 Warm Ups
7pm CURTAIN
STRIKE WILL IMMEDIATELY FOLLOW FRIDAY’S SHOW. ALL CAST MEMBERS MUST ATTEND.
This schedule is a preliminary schedule. All conflicts should be based off of these dates. Any dates added or
taken away will not be held against cast members.
Show Synopsis
PROLOGUE: 1815, DIGNE
Jean Valjean, released on parole after 19 years on the chain gang, finds that the yellow ticket-of-leave he
must, by law, display condemns him to be an outcast. Only the saintly Bishop of Digne treats him kindly
and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and
brought back by police, and is astonished when the Bishop lies to the police to save him, also giving him
two precious candlesticks. Valjean decides to start his life anew.
1823, MONTREUIL-SUR-MER
Eight years have passed and Valjean, having broken his parole an changed his name to Monsieur
Madeleine, has risen to become both a factory owner and Mayor. One of his workers, Fantine, has a secret
illegitimate child. When the other women discover this, they demand her dismissal. The foreman, whose
advances she has rejected, throws her out.
Desperate for money to pay for medicines for her daughter, Fantine sells her locket, her hair, and then
joins the whores in selling herself. Utterly degraded by her new trade she gets into a fight with a prospective
customer and is about to be take to prison by Javert when "The Mayor" arrives and demands she be taken
to a hospital instead.
The Mayor then rescues a man pinned down by a runaway cart. Javert is reminded of the abnormal
strength of convict 24601 Jean Valjean, a parole-breaker whom he has been tracking for years, but who, he
says has just been recaptured. Valjean, unable to see an innocent man go to prison in his place, confesses to
the court that he is prisoner 24601.
At the hospital Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert
arrives to arrest him, but Valjean escapes.
1823, MONTFERMEIL
Cosette has been lodged for five years with the Thénardiers who run an inn, horribly abusing the little girl
whom they use as a skivvy while indulging their own daughter, Eponine. Valjean finds Cosette fetching
water in the dark. He pays the Thénardiers to let him take Cosette away and takes her to Paris. But Javert is
still on his tail...
1832, PARIS
Nine years later there is a great unrest in the city because of the likely demise of the popular leader
General Lamarque, the only man left in the Government who shows any feeling for the poor. The urchin
Gavroche is in his element mixing with the whores and the beggars of the capital. Among the street-gangs
is one led by Thénardier and his wife, which sets upon Jean Valjean and Cosette. They are rescued by Javert,
who does not recognize Valjean until after he has made good his escape. The Thénardiers' daughter
Eponine, who is secretly in love with the student Marius, reluctantly agrees to help him find Cosette, with
whom he has fallen in love.
At a political meeting in a small café, a group of idealistic students prepare for the revolution they are sure
will erupt on the death of General Lamarque. When Gavroche brings the news of the General's death, the
students, led by Enjolras, stream out into the streets to whip up popular support. Only Marius is distracted
by the thoughts of the mysterious Cosette.
Cosette is consumed by the thoughts of Marius, with whom she has fallen in love. Valjean realizes that his
'daughter" is changing very quickly but refuses to tell her anything of her past. In spite of her own feelings
for Marius, Eponine sadly brings him to Cosette and then prevents an attempt by her father's gang to rob
Valjean's house. Valjean, convinced it was Javert who was lurking outside his house, tells Cosette they must
prepare to flee the country. On the eve of the revolution the students and Javert see the situation from
their different viewpoints; Cosette and Marius part in despair of ever meeting again; Eponine mourns the
loss of Marius; and Valjean looks forward to the security of exile. The Thénardiers, meanwhile, dream of rich
pickings underground from the chaos to come.
The students prepare to build the barricade. Marius, noticing that Eponine has joined the insurrection,
sends her with a letter to Cosette, which is intercepted at the Rue Plumet by Valjean. Eponine decides,
despite what he has said to here, to rejoin Marius at the barricade.
The barricade is built and the revolutionaries defy an army warning that they must give up or die.
Gavroche exposes Javert as a policy spy. In trying to return to the barricade Eponine is shot and killed.
Valjean arrives at the barricades in search of Marius. He is given the chance to kill Javert, but instead lets
him go.
The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God
to save Marius from the onslaught which is to come. The next day, with ammunition running low,
Gavroche runs out to collect more and is shot. The rebels are all killed, including their leader, Enjolras.
Valjean escapes into the sewers with the unconscious Marius. After meeting Thénardier, who is rubbing
the corpses of the rebels, he emerges into the light only to meet Javert once more. he pleads for time to
deliver the young man to a hospital. Javert decides to let him go and, his unbending principles of justice
having been shattered by Valjean's own mercy, he kill himself by throwing himself into the swollen River
Seine. A number of Parisian women come to terms with the failed insurrection and its victims. unaware of
the identity of his rescuer, Marius recovers in Cosette's care. Valjean confesses the truth of his past to Marius
and insists that after the young couple are married, he must go away rather than taint the sanctity and
safety of their union. At Marius and Cosette's wedding the Thénardiers try to black mail Marius. Thénardier
says Cosette's "father" is a murderer and, as proof, produces a ring which he stole from the corpse in the
sewers the night the barricades fell. It is Marius' own ring., and he realizes it was Valjean who rescued him
that night. He and Cosette go to Valjean, where Cosette learns for the first time of her own history before
the old man dies, joining the spirits of Fantine, Eponine, and all those who died on the barricades.
People You Should Know
MUSIC AND SCENIC DIRECTOR –
AJ VANDEN HEUVEL 920-470-6807
TECHNICAL DESIGNER- ANDREW SCHMITZ
REHEARSAL ACCOMPIANIST- BRENDA NEJEDLO
ORCHESTRA CONDUCTOR – JOHN QUIGLEY
STAGE MANAGER - intern
KCP BOARD PRESIDENT – ARLENE TRETTIN