Auditions

AUDITIONS FOR The Crucible & Bugsy Malone Jr

 

July 1st & 3rd

LOCATION:
Cumberland Players
66 East Sherman Avenue
Vineland, NJ

TIME:
July 1st and 3rd
(Callbacks: July 9th at a location to be determined)
Doors Open at 6:00
Auditions for girls 10-17 begin at 6:30pm; all others begin at 7pm

***If you are unavailable for these audition dates, alternate auditions arrangements may be available (but are not guaranteed). Please contact our Production Manager at jdsmitty03@yahoo.com for more information.***...

REHEARSAL PERIOD
September 24-November 1
Note: A few cast meetings will be held prior to this production moving into the theatre on September 24.

PERFORMANCE DATES
November 2-10
No conflicts accepted for Performance Dates or the week before opening (Tech Week).

AUDITION INFORMATION
10 men (approximately 30s-80s)
8 women (18-80s)
3 (or more) girls (10-17)

All performers (except girls) must be 18 or older.
No advance preparation needed. Auditions will consist of cold readings from the script.

Auditioners will be asked to complete an audition form, including all conflicts for the July-November rehearsal and performance period.

There are no fees to audition. However, actors must be a member of Cumberland Players in order to perform in a CP production. Membership is $10 for the calendar year.

PRODUCTION MANAGER Jason Smith
DIRECTOR Heidi Dugan
ASSISTANT DIRECTOR Shaun Laurencio


CHARACTER BREAKDOWN
*All Roles Are Available*

ADULTS

Reverend Samuel Parris (approximately 40s) – Minister of Salem's church, disliked by many residents because of his power-hungry, greedy, and domineering personality. He is paranoid of being thrown out of Salem for having a witch as a daughter. At first, he attempts to silence rumors of witchcraft, but later sees they will work to his advantage.

Tituba (African-American, 30s-40s) – Reverend Parris’s slave from Barbados. Tituba agrees to perform voodoo at Abigail’s request and tries to raise the spirits of Ann Putnam’s dead children at her request. In the first scene she is turned in as a witch by Abigail and under duress accuses four other Salem women.

Abigail Williams (18-25) – Reverend Parris’s niece and the antagonist. Abigail was once the servant for the Proctor household, but Elizabeth Proctor fired her after discovering that Abigail had an affair with her husband, John. Smart, wily, a good liar, and vindictive when crossed, she uses her charismatic influence over the girls to gain power to supplant Elizabeth so she and John can marry.

Ann Putnam (40s) – Thomas Putnam’s wife, has given birth to eight children, but only Ruth Putnam survived. The other seven died before they were a day old, and Ann is convinced that they were murdered by supernatural means. She gives in to the witchcraft frenzy to implicate her enemies

Thomas Putnam (40s) – A wealthy, influential citizen of Salem, Putnam holds a grudge against Francis Nurse. He uses the witch trials to increase his own wealth by accusing people of witchcraft and then buying up their land.

Mary Warren (17-22) – A timid servant in the Proctor household and a member of Abigail’s group of girls. Easily influenced by those around her, she tries unsuccessfully to expose the hoax, but is thwarted by Abigail and the other girls. In order to save herself from their accusations of witchcraft, Mary ultimately recants her confession and turns on John Proctor.

John Proctor (mid-30s) – An honest farmer who lives just outside town and the protagonist; Elizabeth Proctor’s husband. A stern, harsh-tongued man, John hates hypocrisy. His hidden sin—his affair with Abigail Williams—proves his downfall. When the hysteria begins, he hesitates to expose Abigail as a fraud because he worries that his secret will be revealed and his good name ruined. He rejects Abigail and admits his wrongdoing, but Abigail continues to pursue him.

Rebecca Nurse (60s-70s) –Rebecca is a wise, sensible, and upright woman, pillar of the community, held in highest regard by most of the Salem community. Jealous of Nurse’s many children, the Putnams accuse her of witchcraft and, not only does she refuse to confess, but also she voices her opposition to the idea of witchcraft and falls victim to the hysteria.

Giles Corey (70s-80s) – An elderly but feisty farmer, famous for his tendency to file lawsuits and friend of John Proctor. After Giles’s wife, Martha, is accused of witchcraft, he is held in contempt of court and pressed to death with large stones. In spite of this torture, he refuses to plea (allowing his children to retain ownership of their property) and he refuses to accuse anyone else.

Reverend John Hale (mid-30s - 40s) – A young minister, reputed to be an expert on witchcraft, called in to Salem to examine Parris’s daughter. Well-educated, his critical mind and intelligence save him from falling into blind fervor. His arrival sets the hysteria in motion, although he later regrets his actions and attempts to save the lives of those accused, even begging some—like John Proctor—to lie and confess in order to live.

Elizabeth Proctor (late-20s – mid-30s) – John Proctor’s wife. Elizabeth fired Abigail when she discovered that her husband was having an affair with Abigail. Elizabeth is supremely virtuous, but often cold, especially to John whom she can’t forgive. She comes to realize this coldness may have contributed to John’s unfaithfulness.

Francis Nurse (70s-80s) – A wealthy, influential man in Salem. Nurse is well respected by most people in Salem, but is an enemy of Thomas Putnam and his wife.

Ezekiel Cheever (30-60) – An astute but morally weak man from Salem who acts as the witch trials’ court clerk. This upright friend to most residents of Salem quickly turns on former friends and those accused of witchcraft handling their arrests.

Judge Hathorne (40s-60s) – A judge who presides, along with Danforth, over the witch trials. Cold, ignorant and antagonistic, he denies any possible explanation other than witchcraft. Considered the “hanging judge” of the era.

Judge Danforth (60s) – Deputy Governor of Massachusetts and presiding judge at the witch trials. Honest, scrupulous and the ultimate authority, at least in his own mind, Danforth is convinced that he is doing right in rooting out witchcraft. He admits special evidence, but refuses to sign Mary Warren’s deposition that would exonerate Elizabeth Proctor.

Martha Corey (50s-60s) – Giles Corey’s third wife. Martha’s tendency to hide the books she reads lead to her arrest and conviction for witchcraft. Only her voice is heard from offstage as she testifies before the court.

John Willard (30-60) – The marshal of Salem responsible for bringing defendants before the court. Sympathetic, he comes to disbelieve the witchcraft allegations and refuses to make further arrests. He was then charged himself, arrested and hanged.

Sarah Good (50s) – one of the first to be accused of witchcraft, she is poor and often rejected from society. Pregnant at her trial, she gives birth in jail but the babies dies. The ordeal has affected her to the point of mental instability. She appears only briefly in the last scene.

GIRLS

Betty Parris (10-15) – Reverend Parris’s daughter. Betty falls into a strange stupor after Parris catches her and the girls dancing in the forest with Tituba.

Susanna Walcott (late teens) – Susanna is a nervous and hasty girl, younger than Abigail. She works for Dr. Griggs. She participates in the ritual in the woods with Tituba.

Mercy Lewis (late teens) – Servant to the Putnams, Mercy is “a fat, sly, merciless girl of eighteen.” She proves to be Abigail’s closest friend, sticking by her through the end and fleeing Salem with Abigail during the trials.

Additional girls may be cast, as needed


July 8 & 9

 

Bugsy Malone, Jr Auditions

Ages 8-18 M & F

Audition dates July 8 & 9 doors open at 6:30 pm audition process begins promptly at 7 pm. Please arrive on time. Callbacks only July 10 doors open at 6:30 pm callbacks begin promptly at 7 pm. If you are unable to attend the scheduled audition dates please email vpproduction@cumberlandplayers.com no later than one week prior to the scheduled dates for a possible pre-audition. We will try to accommodate you but this is not a guarantee.

Audition requirements:
Prepare 16 - 32 measures from a Broadway musical to be performed for the director's casting committee. Must provide sheet music, Phone, MP3 player or cd accompaniment no vocal tracks may be on the CD or digital device accompaniment. Instrumental only. Learn a simple dance routine. Please wear comfortable clothes, sneakers, ballet or jazz shoes NO flip flops or sandals. Please bring all days, dates and times you are NOT available for rehearsals. A rehearsal schedule will not be available until after callbacks and the cast is selected.

For call backs. Be prepared to sing a selection from the Bugsy Malone, Jr score assigned by the directors. Call back music will be provided. Readings from the script. Tap shoes, dance shoes and ballet slippers for specific dance roles.

 

Production dates are September 14, 15, 16, 21, 22, 23. Tech week begins September 9 with a pick-up rehearsal the following week. There can be no conflicts for tech week or for any of the

performance days.

 

Cast Descriptions

 

BUGSY MALONis the hero of our story. 
This role is equal parts Jimmy Stewart, James 
Bond and Gene Kelly. Bugsy alternates as the 
narrator and the lead of the show. A young 
performer comfortable in front of an audience, 
who radiates a sense of charm and sincerity as 
well as a street-wise sensibility.

Vocal Range: baritone/tenor

 

BLOUSEY BROWN is at first the typical young, 
wide-eyed, would-be star, just off the bus

from a small town. However, we find out that 
Blousey is a force to be reckoned with and 
certainly, nobody's fool. This is a large role that 
requires good singing and acting. A young Carol Burnett 
type is recommended.

Vocal Range: mezzo soprano

 

FAT SAM is the baddest of the bad guys 
whose biggest rival is Dandy Dan. Fat Sam 
should be an adept physical comedian with

 

a commanding stage presence. Note that Fat Sam does 
not need to be fat. You can dress him in a fat 
suit or cast a really small kid with a booming 
voice for comedic effect.

Vocal Range: baritone/tenor

 

TALLULAH is the classic gangster's moll. Cast 
a young woman who is self-confident and can 
deliver the role with deadpan sincerity and droll 
appeal. Tallulah is a Mae West type with a 
talent for performing. She needs to be a strong 
singer.

Vocal Range: alto

 

DANDY DAN is the unflappably stylish, 
debonair, underworld businessman who outwits 
Fat Sam every step of the way. Your Dan

should be comfortable singing his song, "That's 
Why They Call Him Dandy."

Vocal Range: baritone  

 

FIZZY is an employee of Fat Sam's at the 
Grand Slam, whose duties mostly involve 
cleaning up the place. Fizzy has a difficult song

that requires emotional singing and a significant

range. Who can deliver Fizzy's sad-eyed hopes

and dreams as he sweeps up.

Vocal Range:  tenor

 

FAT SAM'S GANG includes ROXY ROBINSON, 
ANGELO, SNAKE EYES, RITZY, SHAKE DOWN 
LOUIS 
and Sam's right-hand man, KNUCKLES. 
You may add as many ensemble members to 
the gangs as your stage can accommodate. 
These fellows are bumbling, funny, non- 
threatening hoodlums. They should be able to 
sing with gusto (if not in tune) and be willing to 
work on the rigors of physical comedy. Many 
productions have successfully cast girls in 
these roles.

 

DANDY DAN'S GANG members are really

bad guys. Also known as THE HOODS, they sing 
a little, but they splurge a lot! Cast suave- 
looking types who can pull off slicked-back hair 
and double-breasted suits. Many productions 
have successfully cast girls in these roles. The 
Hoods include BRONX CHARLIESHOULDERS
BENNY LEE, YONKERS, LAUGHING BOY and 
DOODLEYou may add as many ensemble 
members to gangs as your stage can safely 
accommodate. Remember, girls can easily be 
dressed up as male gangsters.

LENA MARELLI is the star of the "Lena Marelli 
Show!" and she lets everyone know it. Cast

a young performer who can TAKE OVER THE 
STAGE with a strong singing voice. An affected 
character voice is practically a requirement to 
deliver this role. Lena is not very bright, but she

is very loud. Think Lina Lamont from Singinin

the Rain.

Vocal Range: soprano

The TALLULAH'S GIRLS perform at the 
speakeasy, and they include TILLIE, LORETTA, 
DOTTY 
and BANGLESThese girls should be 
very at home singing and dancing and should 
work well as ensemble singers. They are 
basically, Tallulah's gang!

FEATURED ENSEMBLEThese roles are 
featured comedic parts that do not require 
great singers:

OSCAR DE VELT is the stage equivalent of 
Cecil B. DeMille. A strong, confident actor will 
fit the bill here.

MARBINI THE MAGICIAN and the 
VENTRILOQUIST are two wonderfully funny 
smaller roles in the audition scene with Oscar 
De Velt. Both of them are convinced that they 
are world famous. Cast performers who can 
really sell these roles for all they are worth. 
The OPERA SINGER and the other bits in this 
scene are all great cameos.

The DOWN AND OUTS are representative of 
out-of-work, Depression era men and women of 
the soup kitchens, which include the COOKS 
serving in the kitchens. The Down and Outs

are ready for a cause, and helping Bugsy bring 
peace between Fat Sam and Dandy Dan is just 
what the doctor ordered. Additional ensemble 
roles in this scene include the PRIEST, 
CLIPBOARD WILLY 
and two DELIVERY GUYS
If you have a smaller cast, you can use the 
splurged from early scenes (Fat Sam's Gang!).

Other standout ensemble roles include: the 
RADIO ANNOUNCERPAPERBOY (or girl), 
RAZAMATAZ, Maître D's, ELEGANTLY 
DRESSED LADY, WAITRESS
LOUELLA,

the BUTLERthe TRUMPET PLAYER ON 
ROLLER SKATES
the Line of AUDITIONEES 
at the Bijoux, POP BECKER, the BARBER

and FLASH FRANKIEThese are all good 
comic roles for young performers. In a smaller 
ensemble you can double many of these parts. 
Additionally, students can be cast as Speakeasy staff

and customers, including a WAITERCANDY

GIRLSLENA'S BODYGUARDS, 
MALE GAMBLERS, 
additional CHORUS

GIRLSSPLURGE ATTENDANTS, SPEAKEASY 
CUSTOMERS, 
and MEMBERS OF FAT SAM 
and DANDY DAN'S GANGSWhile these are 
smaller roles, that often steal the show and 
make for an even, well-rounded evening at the 
theatre.