Auditions are open to all registered students in the Vanderbilt community. Directors usually post requirements for auditions on the greenroom board. You may stop by the Theatre's office in Neely Auditorium to read a copy of the script in the days before the audition. You may also contact the office with any additional questions or to set up an appointment to speak with a director personally.
VUT also welcomes the participation of any student on crews for scenery, lighting, costume, makeup, properties, sound, stage management, and house management. Contact us to see what opportunities are available.
Auditions take place on the main floor of Neely Auditorium. Dress so that you can move comfortably and relax - we usually try to have some fun.
Spring 2018 Audition Information
MRS WARREN’S PROFESSION
Do you have the guts to take on a Shaw play?
DATE/TIMES: DECEMBER 5, 7-9 PM AND December 6, 4-6PM.
CALLBACKS: December 7, as needed time TBA
WHERE: In NEELY AUDITORIUM
Production Dates: April 5-7 8pm and April 8 at 2pm
Rehearsal Schedule: It will be built around the schedules of the actors cast but begins Sunday February 25 and goes through April 4. No rehearsal over Spring Break.
CAST BREAKDOWN: 2 women and 4 men. Although we prefer the actors cast in the play to also sing in the Preshow, consideration will be given to singers and musicians who will be cast only in the preshow if needed.
ABOUT THE AUTHOR AND THE PLAY: A love triangle, a controlling female pimp, innocence betrayed -- while George Bernard Shaw is considered one of the most influential and important writers of his age he continues to be as modern as tomorrow. Written in 1893, Mrs Warren’s Profession was prevented from receiving a public performance for 9 years because it was deemed too scandalous by the British censor. Finally, a troupe of forward-thinking actors with a taste for rebellion took it upon themselves to perform the play privately in a members-only club in 1902. Written early in his career, the feisty contrarian Shaw explores themes of family, duty, and morality through his dynamic characters and devilish humor.
HOW TO AUDITION: If possible, come to auditions having read the play. Copies are available in the Theatre Office in the Lobby of Neely Auditorium.
On the date and time of your choice (see above) fill out an audition card in the lobby and plan to stay for the two-hour duration of the audition if possible. Cold readings of scenes and monologues from the play will commence unless you have come with a partner and are prepared to present your own scene selection. Everyone should come prepared to sing 30 seconds of a song of your choice (see below). *
We are looking for bold character choices steeped in realism. We are listening for enunciation and projection. Shavian characters delight in argumentation so argue like your life depended upon it.
* SPECIAL NOTE: There will be a preshow performance where actors will have the opportunity to sing some scandalous songs before the play begins. For this, you should be able to carry a tune, but more importantly, you should have the ability to engage with the lyrics in a fun and meaningful way. Come prepared to present 30 seconds of a cappela singing, unless you would like to accompany yourself on an instrument, which you will bring yourself to the audition. (A keyboard will be provided but no accompanist.) Ideally all of the actors cast in the play will sing in the preshow but we are also looking for those musicians interested in only participating in the preshow. (Guitarists, keyboardists, what-you-will!) Senior Theatre Major Emma Dwyer will conduct musical direction for this production.
CHARACTER DESCRIPTIONS: (Much of the descriptions are from Shaw himself!)
VIVIE WARREN – a well brought-up, straightforward, hardworking, emancipated young women. Graduated with honors and excels in mathematics. Unsentimental. “An attractive specimen of the sensible, able, highly-educated middle-class, age 22, strong, confident, self-possessed.”
MRS. KITTY WARREN – “between 40 and 50, formerly pretty, showily dressed but fashionable, rather spoilt and domineering, decidedly vulgar and genial; a woman of infamous profession, indifferent to the ultimate social consequences of her means of making money.” Vital, thrifty, energetic, out spoken, an adroit manager. She is witty and performative.
REV. SAMUEL GARDNER – “a clergyman of the Established Church. Externally he is pretentious, booming, noisy, [and thinks of himself as] important. Really he is that obsolescent social phenomenon ‘the fool of the family,’ dumped on the Church by his father the patron, clamorously asserting himself as father and clergyman without being able to command respect in either capacity.“ A foil to Mrs. W., her lover in his youth, distained and ridiculed by his profligate son, Frank.
FRANK – “pleasant, pretty, smartly dressed, cleverly good-for-nothing, agreeably disrespectful manners,” in his 20’s, son of Rev. S., “a conspicuous reactionist against the restraints imposed on [him] in childhood by [his] father’s profession.” “In spite of much capacity and charm, is a cynically worthless member of society,” has a gambling addiction, in love with Vivie.
SIR GEORGE CROFTS – a wealthy man of business, profits from cheap female labor, - the white slave trade, “collected and knavish,” seeks to engage and marry Miss Vivie in order to keep the business in the family; business partner and possible lover of Mrs. W.; “gentlemanly combination of the most brutal types of city man, sporting man, and man about town.” 50 years old.
PRAED – “Hardly past middle age,” an architect, “carefully dressed.” A sentimentalist. Amiable and considerate, but often hopelessly confused, he is a friend of Mrs. Warren.
Rendered for the stage by Sarah Ruhl
[From the novel by Virginia Woolf]
AUDITION DATES/TIMES: Mon. Dec. 4 from 7-10pm & Wed. Dec. 6 from 7-10pm
CALLBACKS: TBA [if required] by appointment
WHERE: In NEELY AUDITORIUM
Feb. 16, 17, 23, 24 @ 8pm
February 18 @ 2pm
February 22 @ 7pm
REHEARSAL SCHEDULE: Evenings and weekends, comprised to best accommodate the ensemble’s needs and with great consideration to the personal scheduling conflicts of all involved.
And an extraordinary ensemble that inhabits the roles of:
MISS PENELOPE HARTROPP
A RUSSIAN SEA MAN
A SEA CAPTAIN
A MAID – GRIMSDITCH
A MAID – DUPPER
MARMADUKE BONTHROP SHELMERDINE, ESQUIRE
In addition to those who identify as women and men, I welcome performers who identify as trans, non-binary, or gender-nonconforming.
ABOUT THE AUTHOR AND THE PLAY: Called “the longest love letter in the history of English letters,” Orlando is an epic and intimate theatrical adventure tenderly rendered for the stage by Sarah Ruhl from Virginia Woolf’s extraordinary 1928 novel. Written to immortalize her great love for Vita Sackville-West, Orlando is a composite of Vita and her many lives both based in reality and blossoming beyond into the most magical of imaginings. Playful and provocative, this romp through time and across gender follows our hero as he awakens one morning to find himself to suddenly be herself. "Which is the greater ecstasy," Orlando asks innocently, "the man's or the woman's?"
HOW TO AUDITION:
Bring your great big open heart and a copy of your favorite poem.
Familiarize yourself with the works and the world of Virginia Woolf if you are at all able.
Consider The Elizabethan Age, The Eighteenth Century, and “what is adventure?”
If you have roller skates, bring those, too. Seriously. Do.
Be open to the idea of play and willing to read some poetry aloud.
Be prepared to not feel prepared, we will improvise together and there’s no wrong way of doing that, except of course, to not do it.
But do wear clothes comfortable enough to play leap frog in.
There will definitely be leap frog.
QUESTIONS AND CONCERNS?
Please do not hesitate to reach out to the director, Jessika Malone, should you have any questions, concerns, anxieties, apprehensions, or early inclinations of excitement you’d like to share: email@example.com