Music by Harvey Schmidt
Lyrics by Tom Jones
Directed by David Martin
Saturday, January 12, 2013 12pm-4pm
Sunday, January 13, 2013 12pm-4pm
At Olathe Community Theatre
500 E Loula, Olathe KS 66061
EXPECTATION and PREPARATION:
If auditioning for a singing role (see character breakdown below), be prepared to sing 32 bars of a musical theatre song. Please provide sheet music. An accompanist will be provided.
If auditioning for a non-singing role (see character breakdown below), be prepared to do a cold reading with another auditioner.
Please be familiar with the show prior to auditions. If available, please bring a resume and headshot.
If you are unable to attend auditions on either date, please contact the director at email@example.com to schedule a different time. An inconveniently scheduled audition time should never be a barrier to an actor trying to get into a show.
CALLBACKS: (BY DIRECTOR INVITATION ONLY)
Saturday, February 2 from Noon to 4:30 p.m.
Please arrive at callbacks with a list of potential rehearsal conflicts from February 17 through April 21.
Rehearsals will begin on or about February 17 and will typically run Sunday-Thursday from 7-10 p.m.
Tech week would begin Easter Sunday, so special scheduling may occur that weekend to avoid the holiday.
Apr 5-7, 12-14, 19-21, 2013
Fridays and Saturdays at 8:00pm
Sundays at 2:00pm
All performances take place at:
Olathe Community Theatre Assn
500 E Loula
Olathe, KS 66061
The Fantasticks is the simple story of a boy (Matt) and a girl (Luisa) who fall in love on either side of a wall that has been erected between their houses by their fathers (Bellomy and Huckabee) in a plot to trick their children into falling in love with each other. Bellomy and Huckabee eventually arrange for Luisa to be abducted by a dashing villain (El Gallo, who also serves as the play's narrator) and two actors for hire (Henry and Mortimer). This plan does not proceed as planned as the children learn of their fathers' deception, causing a rift in their romance and decide to go off into the real world instead. This world proves more difficult than they had bargained for and each eventually returns home a more mature person ready to accept their relationship as it is.
Director/Choreographer: David Martin
Musical Director: Sara Blakesley
Assistant Musical Director/Accompanist: Michelle McIntyre
Stage Manager: DK Evenson
Set Designer: RickL and Mickie Riley
Lighting Designer: Chuck Cline
Costume Designer: Kerry Schafer
Properties: Valerie Martin
CHARACTER BREAKDOWN(age breakdown indicates playable age NOT actual age):
EL GALLO (male, late 20s to early 40s, SINGING role – baritone:
The bandit/narrator. He needs to be charismatic with a versatile voice that is both powerful and melodic. Think a singing version of Zorro – complete with the cape.
MATT (male, late teens to 20s, SINGING role – tenor):
Half of the main pair of lovers in the show. He needs to be young and ambitious, but a little quirky wouldn't be a bad thing. Must be similar in age to Luisa.
LUISA (female, late teens to 20s, SINGING role – soprano):
Half of the main pair of lovers in the show. She must be young and innocent but with a hint of worldly wisdom about her. Must be similar in age to Matt.
HUCKLEBEE (male or female, 40s to 60s, SINGING role) – The father/mother of Matt. Hucklebee takes a wait and see approach to parenting and gardening, preferring not to do too much. Age range will be determined in conjunction with Matt as Hucklebee must be believable as Matt's parent.
BELLOMY (male or female, 40s to 60s, SINGING role) –
The father/mother of Luisa. Bellomy has the opposite approach to parenting and gardening, preferring to overwork with the thought that too much of a good thing is never bad. Age range will be determined in conjunction with Luisa as Bellomy must be believable as Luisa's parent.
HENRY (male, 30s to 70s, NON-SINGING role) –
Described as "an old actor" may be played younger with age makeup or older. He is hired by El Gallo to help abduct Luisa and portray Matt as her savior. He is an experienced stage veteran, at least in his own mind. Improvisational skills are a plus.
MORTIMER (male, any age, NON-SINGING role) –
Henry's partner in crime and in staging scenes, Mortimer is a "man who dies." The actor playing this role will need to be a large character and comfortable with physical comedy. Improvisational skills are a plus.
THE MUTE (female, any age, NON-SINGING role) –
And, in fact, a non-speaking role, but a vital one to the production. The Mute needs to be able to drift into the background and be totally unobtrusive at times and be the most expressive person on stage at other times. In my opinion, this is the hardest role in the show.
NOTE – Henry, Mortimer, and The Mute will be called on fewer nights as there is no music for them to learn.
For more information, contact the director at firstname.lastname@example.org or see www.olathetheatre.org
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