Night at the Wax Museum ~ The Musical Audition Information
We're so glad that you're interested in being part of our Season 6 show, Night at the Wax Museum ~ The Musical! Some of you may already be very familiar with the audition process. Some of you might be experiencing your first audition. Either way, we're here to help you prepare.
The following information is everything that you need to know about auditioning, such as:
Vocal Audition Tips
Callbacks
Casting
Importance of Ensemble
Conflicts and Calendar
Audition Monologues
Audition Music
Call Back Sides and Music
1) A musical theater vocal audition is NOT "American Idol". This is an audition, not a “sing off”. It’s all about storytelling. The audition staff and directors aren’t so much listening to voices as looking for who can tell a story with their voice, face, and body.
2) The audition staff and directors have a problem. They need to put together a big puzzle and find just the right pieces to put it together best. They are not there to “judge” you – they are really, really hoping that you’ll be the right fit for one of the puzzle pieces. Your job is to help the audition staff and directors solve their problem, so there’s no need for you to be nervous!
3) If you’re nervous anyway, “hide” behind the character. Remember that it’s not “you” up there; it’s your character. Tell your character’s story the entire time when you audition. Get involved in telling the story and don’t spend time thinking about how your voice sounds when you sing. Never "break character", no matter what happens. Make a strong, active choice for your character, and play it fully. We can't tell anything about your character if you don't show us an active personality.
4) Regardless of how your song sounds, if your eyes, face, and body don’t tell the story of the song, the audience isn’t going to understand the story. Our brains process pictures before they process words, so your hands are busy doing something unrelated to the song (for instance: tugging at the bottom of your shirt), the audience is going to think your song is about something else (a shirt), no matter what words you’re singing!
5) Use clear diction. We need to understand every word that you sing. Stand up tall and sing loudly enough to be heard from way across the room, but don’t scream.
6) When you are singing, you shouldn’t look at anyone in the room -- especially not the audition staff or directors. You should look past the audition staff and directors at a spot on the wall that is at your eye level. Pretend that spot is a close friend to whom you are telling your story. "The eyes are the window to the soul". Make sure your eyes are expressing your character's thoughts and not looking around the room or glazing over with a vacant expression.
7) You do not have to memorize the song selection – we will have the words available if you absolutely need them – but it will be GREATLY to your advantage if you DO memorize the words and can focus on telling the story. Even if you don’t have the song memorized, don’t spend your time staring at the words. Instead, only look at the words if/when you forget them.
Callbacks
Based on the auditions, we may call certain children back to sing or read other materials. If you are not called back into the room, that doesn't mean that you aren't being considered for a given role; it just means that we've seen all that we need to see to make our decision.
The audition staff and directors may give you advice about how to sing a certain phrase, or how to read a scene. If that happens, please try to incorporate the suggestions into your performance. Don't do the same thing that you did before; change your performance to incorporate their instructions. Everyone will notice how well you take direction, and that has a huge impact on whether or not a person gets cast.
Casting
As mentioned above, casting a show is like assembling a large jigsaw puzzle. If you do get the role you were hoping for, that DOES NOT mean that your audition performance was not of a good quality. It simply means that it might not have been a good fit for you in this particular show.
The "fit" decision usually has little to do with anything under your control. We may have had too many singers with low voices, too many tall actors, too many short actors -- you get the picture!
Please also note that some decisions on how a child is cast may be based on their ability to listen, follow directions, perform with energy, and similar factors. Remember that the creative team is looking at your behavior during the entire audition process. ALWAYS avoid doing things like talking when the adults are talking or behaving in a disruptive or disrespectful manner. ALWAYS be supportive of your fellow performer. We have a zero-tolerance policy for meanness.
Importance of Ensemble
There are solos and acting "bits" that we will cast from the ENSEMBLE as we begin our season. Similarly, if you auditioned hoping to be given a certain role and you are cast with a different role, that means that the directors needed you most in the role in which you were cast.
Again, remember that the ENSEMBLE is considered a role. Ask anyone who has ever been in our ENSEMBLE -- they've had a BLAST, learned a lot, and were a big part of the show!
If you audition for the show, it is understood that you are committed to being on the team and will accept whatever role you are given.
Please honor that commitment.
Conflicts
Please review the rehearsal and performance dates on the calendar below. The google form includes an area to list conflicts, but we also understand life happens. It is critical that you email us at directors@catheatre.org if that happens. We are happy to have families participate in other activities and with good communication we are able to adjust rehearsals and make everyone happy.
Obviously, if you can't make it to the tech/dress rehearsals or performances you shouldn't audition for the show. Enjoy the audition process -- and BREAK A LEG!
CALENDAR FOR REHEARSALS, PERFORMANCES AND EVENTS
MOVE TO KMLHS PAC - Rehearsal Times Adjusted! |
Character List
(In Order of Appearance)
EMILY BLAKE ~ high school student;
VICTOR TATES ~ high school student; a wannabe pro wrestler
CARRIE GALE ~ high school student; cynical
JOEL KREEBLE ~ high school student; into video games
ROLF RIZZO ~ high school student; a ladies’ man
HEATHER FAIRCHILD ~ their history teacher; 20s
LUPE LOPEZ ~ serious high school student
IVY SWEET ~ of the Historical Society; 70s
ETHEL LOCKHEAD ~ of the Historical Society; 83
HAZEL SMITHY-WITHY ~ of the Historical Society; 70s
JULENE FAIRCHILD ~ co-chair of the Historical Society and Heather’s aunt; 60s
JOLENE FAIRCHILD ~ Julene’s sister and co-chair; 60s
SKIP WEBSTER ~ a handyman; 20s
VIOLET SNEED ~ owner of the building; 40s
JASPER SNEED ~ her son; 20s
POLLY POPPER ~ his girlfriend; 20ss
CLEOPATRA ~ Queen of Egypt
HENRY VIII ~ King of England HENRY VIII
ANNE BOLEYN ~ his queen
ANNE BONNY ~ lady pirate
MARY READ ~ lady pirate
MADAME CHING ~ lady pirate
BLACKBEARD ~ pirate leader
PIRATES 1 AND 2 ~ crewless argh-ers
BUTCH CASSIDY ~ the outlaw
SUNDANCE KID ~ his partner
PANCHO VILLA ~ the revolutionary
CALAMITY JANE ~ Wild West frontierswoman
LIZZIE BORDEN ~ axe her no questions
JOHN ADAMS ~ second U.S. President
CHORUS ~ Cleopatra’s attendants, Pirates, additional Wax Figures
To be a part of this amazing show, on stage or backstage, please REGISTER here!!
