Book and Lyrics by Marsha Norman
Music by Lucy Simon
Based on the Novel by Fances Hodgson Burnett
The Secret Garden opened on Broadway at the St. James Theatre on April 25, 1991. Directed by Susan H. Schulman, the production featured Daisy Eagan, Alison Fraser, Rebecca Luker, John Cameron Mitchell, Mandy Patinkin and Robert Westenberg. The musical played for a total of 709 performances, closing on January 3, 1993.
Call for Auditions!
Tuesday, August 20, 2024 • 6:30 PM - 10:00 PM MST
NPC's Snowflake Campus - Performing Arts Center
1611 S. Main St. • Snowflake, AZ 85937
What to Prepare:
Come ready to sing TWO contrasting one-minute song cuts (typically about 32 measures of an up-tempo, or about 16 measures of a ballad).
- Each audition song cut should be no longer than ONE minute in duration.
- Musical choices should be in the style of the show.
- Bring sheet music in the APPROPRIATE KEY with cuts clearly marked.
- An accompanist will be provided.
- PLEASE, DO NOT SING FROM THE SCORE
- NO A CAPPELLA OR RECORDED ACCOMPANIMENTS
** (NPC Performing Arts will host an audition workshop at the PAC Tuesday August 13, 7:00 PM for any who would like to see demonstrations or have questions regarding the process - NOTE: We will not be doing coachings or hearing audition songs at the workshop.)
* Auditions are open to ANYONE!
Please arrive at least twenty minutes before your audition time to complete the paperwork and to have your photo taken.
Please arrive at least twenty minutes before your audition time to complete the paperwork and to have your photo taken.
All those auditioning should plan to attend the movement call at 8:15. If your audition is before 8, plan to stay. if your audition is after 9:00, please arrive no later than 8 to complete the paperwork. You may wish to bring appropriate clothes to change into. Please avoid overly baggy clothing. Take the time before to warm up and stretch. Character shoes, ballet shoes, or jazz shoes are recommended.
Callbacks will happen on Thursday, August 22. 6:00 PM - individuals will be notified of their call-back invitations.
** If cast, actors will need to enroll in SPT 199 (one credit), 200 or 201 (3 credits, For majors).
View Character Breakdown:
MARY LENNOX – Female, Playable age 10 (Range: Young Voice, Ab3-D5) A ten-year-old girl sent to live with her uncle, Archibald, when her parents die from cholera in India. Quite the curious explorer, and often finding herself in trouble. Stubborn and always fighting for what she believes in. British RP Accent.
LILY – Female, playable age 28-38 (Range: Soprano, Bb3-D6) Mary's aunt and Archibald Craven's wife. Died of a tragic accident within her garden and metaphorically haunts the walls of Misselthwaite Manor. British RP Accent.
ARCHIBALD CRAVEN – Male, Playable age 35-45 (Range: Baritone, C3-A4) Mary's uncle and lord of Misselthwaite Manor. He has a hunchback. Haunted by the past and afraid of the future, he locks himself away both physically and mentally. Mary painfully reminds him too much of his wife, Lily, who died ten years ago. British RP Accent.
MARTHA – Female, Playable age 18-30 (Range: Mezzo-Soprano Belt, G3-D5) A faithful housemaid. Grew up near Yorkshire and has the accent to prove it. Although she is from a lower-class family, her wisdom is often far beyond her age. A Strong Yorkshire Accent is desirable.
DICKON – Male, Playable age 16-25 (Range: Tenor, D3-G4) Martha's younger brother. Looks after the sick plants and animals within the Misselthwaite grounds—including Mary. He is a young man who is between the world of child imagination and adult reasoning. Befriends Mary and convinces her to take care of the Garden. A Strong Yorkshire Accent is desirable.
DR. NEVILLE CRAVEN – Male, Playable age 35-45 (Range: Baritone, C3-F#4) Archibald’s brother. Trapped by the idea that he is responsible for the caretaking of Colin. Though Lily never loved him in return, he remains in love with her, and is unwilling to move on and leave Misselthwaite. British RP Accent.
BEN WEATHERSTAFF – Male, Age Flexible (Range: Ensemble/Part Flexible, E3-D#4) Head gardener. Secretly entrusted to take care of the garden after Lily’s death. Knows a great deal about the history of the garden and the grounds it sits on. He has worked for the family for many years. He calls himself “an old man.” A Strong Yorkshire Accent is desirable.
COLIN CRAVEN – Male, Playable age 10 (Range: Young Voice, A3-E5) Archibald's ten-year-old son. Spent his life in bed due to a heart condition. He is very stubborn and throws temper tantrums to get what he wants. He believes his father hates him for causing Lily’s death. British RP Accent.
MRS. MEDLOCK – Female, Age Flexible (Range: Ensemble/Part Flexible) Archibald’s housekeeper. As cold as the Misselthwaite Manor. British RP Accent.
MRS. WINTHROP – Female, Age Flexible (Range: Ensemble/Part Flexible) Headmistress of a private school. Prides herself on nurturing girls with tempers. Mary seems to be more than she can handle. British RP Accent
The Following characters, referred to collectively as the Dreamers, are people from Mary's life in India, who haunt her until she finds her new life in the course of the story. They are free to sing directly to us, appearing and disappearing at will.
ROSE LENNOX – Female, Playable age 28-38 (Range: Soprano, A3-D6) Mary's mother. A “dreamer” from the past who doesn’t understand how her sister Lily could truly love Archibald. Very loyal to her husband and refuses to leave India during the cholera outbreak that takes her life. British RP Accent.
CAPTAIN ALBERT LENNOX – Male, Playable age 30-40 (Range: Tenor, D3-A5) Mary's father. Tries to send Rose out of India during the cholera outbreak. British RP Accent.
ALICE – Female, Age Flexible (Range: Ensemble/Part Flexible) Rose's friend. British RP Accent.
LIEUTENANT WRIGHT – Male, Age Flexible (Range: Ensemble/Part Flexible) Officer in Mary's father's unit. British RP Accent.
LIEUTENANT SHAW – Male, Age Flexible (Range: Ensemble/Part Flexible) Fellow officer. British RP Accent.
MAJOR SHELLEY – Male, Age Flexible (Range: Ensemble/Part Flexible) Officer. British RP Accent.
MRS. SHELLEY – Female, Age Flexible (Range: Ensemble/Part Flexible) Major Shelley's wife. British RP Accent.
MAJOR HOLMES – Male, Age Flexible (Range: Ensemble/Part Flexible) Officer. British RP Accent.
CLAIRE HOLMES – Female, Age Flexible (Range: Ensemble/Part Flexible) Major Holmes' wife. British RP Accent.
FAKIR – Male, Age Flexible (Range: Tenor, C3-B4) Itinerant Hindu ascetic.
AYAH – Female, Age Flexible (Range: Ensemble/Part Flexible) Mary's Indian nanny.
TIPS FOR A STRONGER AUDITION
- 1. Where to look for material
- 2. Choosing Material - About song selection
- I have my song selected - now what?
- Recordings
- Collection
- Musicnotes.com
- Sheetmusicplus.com
- Private copiers/transcription
What do we look for?
- Performability
- Good for your voice
- Shows you off to the greatest advantage
- Target the role/s you want
- Similar sound/style/character/emotion
- Without you indicating, those listening would know what character you want.
- Entertaining - there’s no rule against it.
-
- Know which story and how to tell it
- Personal story layered onto a song?
- Story of the song in context to the show from which you took it?
-
Contrast - at the very least Ballad and up-tempo
- Ballad shows emotional range, phrasing, and sensitivity to the words.
- Up-tune shows a sense of Personality, rhythm, and excitement as a performer.
What to avoid
Anything extremely well known:
- Overdone songs
- Phantom of the Opera
- Les Miserables
- Cats
- Miss Saigon
- Grease
- Etc.
- “Signature” songs
- Over the Rainbow
- Don’t Rain on My Parade
- And I Am Telling You
- I Will Always Love You
- Let it Go
- Etc.
- One-joke wonders (single gimmick songs)
- Too cheerful - don’t make anyone sick (religious or morally uplifting)
Yes, I know it sounds weird – But don’t preach to the auditioners.- When You Walk Through A Storm
- Forget Your Troubles
- Too depressing
- Too boastful
- C’est moi
- Me
- Self-deprecating
- Mr. Cellophane
- Original Material
- Too difficult - don’t make your job harder
- From the score or by the composer in the room (unless specifically requested to do so)
- Do not sing the list
- Yes, there is one.
- See appendix
- 5-year rule
- If the Broadway Production has not been closed for at least five years – do not sing a song from the score.
- Songs composed for a character of the opposite gender - does it read as ignorance or a choice?
(It's not a no-no, but you have to make sure the people behind the table know it's a choice. Know what story YOU are telling. Beware of problem lyrics- changing them to make the song fit your story could cause other problems)- What story are you trying to tell?
- Does the lyric directly contradict your story?
- Why no Sondheim??
- Difficult to sight-read accompaniment
- Complicated time signatures
- Complex rhythms
- Chromatic movements
- Similar composers to avoid in Auditions
- Jason Robert Brown
- Adam Guettel
Set yourself up for the greatest success
- Cuttings
- Complete musical phrases
- Emotional phrases should be resolved as well.
- about a minute’s worth in common time
- 32 - Uptempo
- 16 - Ballad
- 8 – Be prepared to use a shorter cut if they are running behind schedule
- Can be a few more or less
- Sticky Notes!!!!! - Marking cuts
- Internal cuts
- Second endings
- Skipping pages
- Cut and paste
- More fun with Sticky notes
- starting pitch
- Bell tone, cords, two-measure intro...
Page turns:
- Minimize them
- If possible, get your cut down to two pages facing each other.
- Single-sided copies can be taped back to back (stronger this way)
- Five points of tape perpendicular
- Accordion fold-outs (3-4 pages)
- Be sure to mark the page that folds out.
- Even more fun with sticky notes!!!!!
- Create tabs so you can open the song you want, to where your cut begins
- in a pinch, can be used to tape pages together.
- Three whole punch!!!!!
- In a binder, or folder
- Not in plastic sleeves – You don’t want the glare to affect their ability to accompany you.
Communicating with the accompanist
- Have the book open when you approach the piano.
- Please keep your backside to yourself!!!
- Greet the pianist as you place the book on the piano or music stand.
- If they reach out for it, take the cue. But don’t expect it.
- Walk the pianist through any page turns
- Point out key changes, special moments, or tricky cuts
- Indicate tempo physically and audibly
- Don’t sing the song to teach tempo
- Speak the lyrics if necessary
- Don’t snap/clap the beat in the pianist’s face
- Tap the piano or your own hand
- Be prepared to Answer any questions the pianist has for you.
Remember: no one behind the table is paying for your performance. You are giving them a gift. Enjoy the chance to perform for them. They are on your team! They want you to make their job easy. They are rooting for you to be THE ONE. Enjoy the opportunity to show them your best.
Give it all you've got!
Questions Please contact Richard 'Carson' Saline | email | (928) 536-6247
