RCP AuditionsGeneral information: All Rochester Community Players auditions are opening casting; there are no roles pre-cast. Auditioners are encouraged to bring a theatrical resume or CV, a photo (if you are unknown to the director), a pen or pencil, and your personal water bottle. Auditioners are encouraged to pre-register for auditions, or at least prepare their audition forms ahead of time and bring them to auditions. The online registration form is below, after information on specific upcoming auditions.
Next Auditions for the Rochester Community Players:
We have completed the casting for our Spring 2014 production of Shining City, by Conor McPherson. We are humbled and astonished by the outstanding talent thgat auditiond with us,and it is unfortunate that, with a play containing only four characters, we have to turn away such talent. We hope to see all who auditioned with us at future RCP auditions in thge very near future!
The Shining City cast:
Ian: Ken Dauer
John: Bill Alden
Neasa: Shawnda Urie
Laurence: Patrick Best
NOTE: If you go to this page repeatedly during the same day, you may want to press the "refresh" button on your browser, othgerwise you may be seeing the same old page, without updates, on your browser.
The Winter's Tale:
Thank you to everyone who has auditioned for this production! Below is our call back list of actors.
CALL BACK LIST
Please note that if you were intending to audition on the evening of Dec 10th and could not due to the weather, you can still audition on the night of callbacks, Wed Dec. 11th! Anyone who has not auditioned prior can show up to the audition space at Dazzle Theater (112 Webster Ave) at 6pm. Callbacks starting promptly at 7pm.
Special Note: For those who are called back and anyone new, please wear clothing that you can comfortably move and be physical in.
Auditions are scheduled for Monday and Tuesday, December 9 and 10, 2013 at 7:00 PM at the Dazzle Theater, 110 Webster Avenue, Rochester. Call backs, if necessary, will be Dec. 11.
Directions from East Main Street and North Goodman (the intersection across from the Hungerford Building): head north on North Goodman approximately one block. Webster Avenue starts at this "Y" intersection, take the right fork of the "Y", Webster Avenue. Dazzle is about two blocks from North Goodman; the theater has a parking lot on the north side (the far side if you are coming from East main Street) and the entrance for auditions will be the side door off the parking lot (the front door will also be available.) This production will be directed by Virginia Monte and will be staged April 11-26 at MuCCC Theater. Rehearsals are anticipated to start in early February. More details on auditions will be posted soon.
NEW! There are four passages, or "sides", that will bne used during auditions for this play. Two are from The Winter's Tale, two are from other plays. We have posted the entire text of all four sides at the end of this page, following the online audition form (they are printed in REDF).
PRE-REGISTER OR PRE-PRINT YOUR AUDITION FORMS! (See below)
The Tale of Marina The Shakespeare Players of Rochester and ShakeCo: Acting roles still available: Our new Shakespeare for Young Audiences will be staging a production in February called The Tale of Marina, a shortened and modified version of Shakespeare’s Pericles. The production will be performed in February at The Dazzle Theater and is intended for young ‘tweener’ audiences age 7 to 14. Philip R. Frey will be directing the production. In itial auditions have been con cluded, but there are still roles available for male actors over age 18. Anyone interested should send an email, preferably with a theatrical resume attached, to Phil at:
shake_co (at) hotmail.com.
SAVE TIME AT AUDITIONS: PREPARE YOUR AUDITION APPLICATION AHEAD OF TIME!
Pre-audition and Online audition application Rochester Community Players:
INSTRUCTIONS: Please copy this form below into a word processing program or an email message, fill this out ahead of time, print it out, and bring it to auditions, along with your theater resume or CV and, if you wish, a head shot photo.
IF YOU WISH, you may also email it to us ahead of time, but DO NOT RELY on the email copy, bring a printed copy to auditions as well. We ENCOURAGE email applications. Please feel free to include along with the email application a scanned copy of your theater resume or CV and a head shot photo.
EMAIL INSTRUCTIONS: Subject line: please put in the subject line of the email you are sending us your last name, first name and the production you are auditioning for (example: "Marina 2014 auditions Smith John")
Send ONE COPY of your email application to email@example.com
For The Winters Tale only: Send an additional copy to: artbyvirginia (at) gmail.com
1) Your name, as you want it in the program, LAST NAME FIRST:
2) Roles you are interested in:
3) Please check one:
[ ]I will not accept any other role
[ ]I will accept any other principal role
[ ]I will accept any other speaking role
[ ]I think this is such an exciting idea, I would accept any role, even a non-speaking ensemble or “supernumerary” role
4) In the event you are not cast, OR if you are interested in working on the show but not as an actor, would you be interested in doing:
[ ] Technical, lighting or backstage crew work?
[ ] Stage managing?
[ ] Props work?
[ ] Costuming work?
[ ] Ushering?
[ ] Publicity?
[ ] Sound board or light board operation
5) Mailing address (street, city, zip):
7) Facebook or other social media contact info:
8) Cell phone number:
9) Any other phone number you may be reached at (please describe):
10) Age range:
13) Clothing sizes (for costuming):
15) If you are a student, what grade are you in and what school do you attend?
16) Training and/or academic background in theater:
17) Please list any Stage fighting experience or training:
18) Do you play any musical instruments? [ ]NO [ ]YES:. If so, what instrument?
19) Please list any singing and/or dancing training:
20) Please list other entertainment talents (juggling; acrobatics, belching etc.):
21) CONFLICT LIST: please list ALL dates you are not available during part or all of the evenings Monday through Friday and during the day or evenings Saturday and Sunday. See the performance and rehearsal time periods, above, for the production you are auditioning for. :
22) THEATER EXPERIENCE: Please EITHER attached a resume or CV to this application, OR provide the following information (or both, if you prefer)
A) Previous acting roles you have done with the Rochester Community Players (including Shakespeare Players and Irish Players) (role, name of show, theater location, year):
B) Previous non-acting positions you have done in productions with the Rochester Community Players (such as director, costumer etc.) (role, name of show, theater location, year):
C) Previous roles you have done in productions with other theater companies (list the name of the role, the name of the show, name of the company, location of the company if not Rochester, and the year of the show; specify if any of the experiences were professional; include firm, video and TV):
D) Previous non-acting positions you have done in productions with other theater, film, video or TV companies (list the name of the position, the name of the show,name of the company, location of the company if not Rochester, and the year of the show):
SIDES that will be used for auditions for The Winter's Tale:
Excerpt from “the Duchess of Malfi”
DUCHESS Doth not the colour of my hair 'gin to change?
When I wax gray I shall have all the court
Powder their hair with arras to be like me.
Have you lost your tongue?
[turns to find FERDINAND]
For know, whether I am doomed to live or die,
I can do both like a prince.
FERDINAND Die then quickly!
Virtue, where art thou hid? What hideous thing
Is it that doth eclipse thee?
DUCHESS Pray, sir, hear me –
FERDINAND Or is it true thou art but a bare name,
And no essential thing?
FERDINAND Do not speak!
DUCHESS No, sir, I will plant my soul in mine ears to hear you.
FERDINAND Oh, most imperfect light of human reason,
That makest so unhappy to foresee
What we can least prevent! Pursue thy wishes
And glory in them. There’s in shame no comfort,
But to be past all bounds and sense of shame.
DUCHESS I pray, sir, hear me: I am married.
DUCHESS Happily not to your liking, but for that -
Alas, your shears do come untimely now
To clip the bird's wings that's already flown.
Will you see my husband?
FERDINAND Yes, if I could change
Eyes with a basilisk.
DUCHESS Sure, you came hither
By his confederacy.
FERDINAND The howling of a wolf
Is music to thee, screech owl! Prithee, peace! -
Whate'er thou art that hast enjoyed my sister
(For I am sure thou hear'st me), for thine own sake
Let me not know thee. I came hither prepared
To work thy discovery, yet am now persuaded
It would beget such violent effects
As would damn us both.
Enjoy thy lust still, and a wretched life
On that condition. - And for thee, vile woman,
If thou do wish thy lecher may grow old
In thy embracements,
Let not the sun
Shine on him till he's dead.
If thou do love him, cut out thine own tongue
Lest it betray him.
DUCHESS Why might not I marry?
I have not gone about, in this, to create
Any new world or custom.
FERDINAND Thou art undone.
And thou hast ta'en that massy sheet of lead
That hid thy husband's bones and folded it
About my heart.
DUCHESS Mine bleeds for't.
FERDINAND Thine? Thy heart?
What should I name't, unless a hollow bullet
Filled with unquenchable wildfire?
DUCHESS You are in this
Too strict; and were you not my princely brother
I would say, too willful. My reputation
FERDINAND Dost thou know what reputation is?
You have shook hands with Reputation
And made him invisible. So fare you well.
I will never see you more.
DUCHESS Why should only I,
Of all the other princes of the world,
Be cased up like a holy relic? I have youth
And a little beauty.
FERDINAND So you have some virgins
That are witches. I will never see thee more.
POLIXENES - Good day, Camillo.
CAMILLO Hail, most royal sir!
POLIXENES What is the news i' th’ court?
CAMILLO None rare, my lord.
POLIXENES The king hath on him such a countenance
As he had lost some province, and a region
Loved as he loves himself.
So leaves me to consider what is breeding
That changes thus his manners.
CAMILLO I dare not know, my lord.
POLIXENES How, dare not? Do not? Do you know, and dare not?
Your changed complexions are to me a mirror
Which shows me mine changed too; for I must be
A party in this alteration, finding
Myself thus altered with 't.
CAMILLO There is a sickness
Which puts some of us in distemper, but
I cannot name the disease, and it is caught
Of you that yet are well.
POLIXENES How caught of me?
I have looked on thousands who have sped the better
By my regard, but killed none so. Camillo,
If you know aught which does behove my knowledge
Thereof to be informed, imprison't not
In ignorant concealment.
CAMILLO I may not answer.
POLIXENES A sickness caught of me, and yet I well?
I must be answered. Dost thou hear, Camillo,
I conjure thee, by all the parts of man
Which honour does acknowledge, whereof the least
Is not this suit of mine, that thou declare
What incidency thou dost guess of harm
Is creeping toward me; how far off, how near;
Which way to be prevented, if to be;
If not, how best to bear it.
CAMILLO Sir, I will tell you,
Since I am charged in honour, and by him
That I think honourable. Therefore mark my counsel,
Which must be ev’n as swiftly followed as
I mean to utter it, or both yourself and me
Cry lost, and so good night!
POLIXENES On, good Camillo.
CAMILLO I am appointed him to murder you.
POLIXENES By whom, Camillo?
CAMILLO By the king.
POLIXENES For what?
CAMILLO He thinks - nay, with all confidence he swears,
As he had seen't, or been an instrument
To vice you to't- that you have touched his queen
POLIXENES O, then my best blood turn
To an infected jelly and my name
Be yoked with his that did betray the best!
CAMILLO Swear his thought over
By each particular star in heaven and
By all their influences, you may as well
Forbid the sea for to obey the moon
As or by oath remove or counsel shake
The fabric of his folly,
POLIXENES How should this grow?
CAMILLO I know not, but I am sure 'tis safer to
Avoid what's grown than question how 'tis born.
If therefore you dare trust my honesty,
That lies enclosed in this trunk which you
Shall bear along impawned, away tonight!
I'll put My fortunes to your service, which are here
By this discovery lost. Be not uncertain,
For, by the honour of my parents, I
Have uttered truth –
POLIXENES I do believe thee,
I saw his heart in 's face. Give me thy hand.
Be pilot to me, and thy places shall
Still neighbour mine. My ships are ready,
I will respect thee as a father if
Thou bear'st my life off. Hence! Let us avoid.
CAMILLO It is in mine authority to command
The keys of all the posterns. Please your highness
To take the urgent hour. Come, sir, away.
CLOWN See, see, what a man you are now! There is no other way but to tell the king she's a changeling, and none of your flesh and blood.
SHEPHERD Nay, but hear me.
CLOWN Nay, but hear me.
SHEPHERD Go to, then.
CLOWN She being none of your flesh and blood, your flesh and blood has not offended the king, and so your flesh and blood is not to be punished by him. Show those things you found about her, those secret things, all but what she has with her. This being done, let the law go whistle, I warrant you.
SHEPHERD I will tell the king all, every word, yea, and his son's pranks too - who, I may say, is no honest man, neither to his father nor to me, to go about to make me the king's brother-in-law.
CLOWN Indeed, brother-in-law was the farthest off you could have been to him, and then your blood had been the dearer by I know how much an ounce.
AUTOLYCUS [aside] Very wisely, puppies.
SHEPHERD Well, let us to the king. There is that in this fardel will make him scratch his beard.
AUTOLYCUS [aside] I know not what impediment this complaint may be to the flight of my master. Though I am not naturally honest, I am so sometimes by chance. How now, rustics, whither are you bound?
SHEPHERD To th’ palace, an it like your worship.
AUTOLYCUS Your affairs there? What? With whom? The condition of that fardel? The place of your dwelling? Your names? Your ages? Of what having, breeding, and anything that is fitting to be known, discover!
CLOWN We are but plain fellows, sir.
AUTOLYCUS A lie - you are rough and hairy. Let me have no lying; it becomes none but tradesmen, and they often give us soldiers the lie, but we pay them for it with stamped coin, not stabbing steel, therefore they do not give us the lie.
CLOWN Your worship had like to have given us one if you had not taken yourself with the manner.
SHEPHERD Are you a courtier, an't like you, sir?
AUTOLYCUS Whether it like me or no, I am a courtier. I am courtier cap-á-pie, and ne that will either push on or pluck back thy business there. Whereupon I command thee to open thy affair.
SHEPHERD My business, sir, is to the king.
AUTOLYCUS What advocate hast thou to him?
SHEPHERD I know not, an't like you.
CLOWN This cannot be but a great courtier.
SHEPHERD His garments are rich, but he wears them not handsomely.
CLOWN He seems to be the more noble in being fantastical. A great man, I'll warrant. I know by the picking on's teeth.
AUTOLYCUS The fardel there, what's i' th’ fardel? Wherefore that box?
SHEPHERD Sir, there lies such secrets in this fardel and box which none must know but the king, and which he shall know within this hour, if I may come to th’ speech of him.
AUTOLYCUS Age, thou hast lost thy labour.
SHEPHERD Why, sir?
AUTOLYCUS The king is not at the palace; he is gone aboard a new ship to purge melancholy and air himself; for, if thou beest capable of things serious, thou must know the king is full of grief.
SHEPARD So 'tis said, sir; about his son, that should have married a shepherd's daughter.
AUTOLYCUS If that shepherd be not in handfast, let him fly; the curses he shall have, the tortures he shall feel, will break the back of man, the heart of monster.
CLOWN Think you so, sir?
AUTOLYCUS Not he alone shall suffer what wit can make heavy and vengeance bitter, but those that are germane to him, though removed fifty times, shall all come under the hangman, which, though it be great pity, yet it is necessary.
CLOWN Has the old man e'er a son, sir, do you hear. an't like you, sir?
AUTOLYCUS He has a son, who shall be flayed alive, then 'nointed over with honey, set on the head of a wasp's nest; then stand till he be three-quarters-and-a-dram dead, then recovered again with aqua vitae, or some other hot infusion, then, raw as he is, and in the hottest day prognostication proclaims, shall he be set against a brick wall, the sun looking with a southward eye upon him, where he is to behold him with flies blown to death. But what talk we of these traitorly rascals, whose miseries are to be smiled at, their offences being so capital? Tell me - for you seem to be honest plain men - what you have to the king:
Excerpt from “Romeo and Juliet”
ROMEO If I profane with my unworthiest hand
This holy shrine, the gentle sin is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this,
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO Have not saints lips and holy palmers too?
JULIET Ay, pilgrim, lips that they must use in prayer.
ROMEO O then, dear saint, let lips do what hands do-
They pray; grant thou, lest faith turn to despair.
JULIET Saints do not move, though grant for prayers' sake.
ROMEO Then move not while my prayer's effect I take.
Thus from my lips by thine my sin is purged.
JULIET Then have my lips the sin that they have took.
ROMEO Sin from thy lips? O trespass sweetly urged!
Give me my sin again. [Kisses her.]
JULIET [Kisses her.] You kiss by th’ book.