The Brookfield Theatre for the Arts announces auditions for the first show of their 2014 season: The Divine Sister by Charles Busch directed by Matt Austin. Auditions will be held at TBTA on Sunday January 5th from 6-8pm and Monday January 6th from 7:30-9pm. Please bring resume & headshot. Sides will be provided. Anyone interested in reading the script ahead of time, please contact Matt Austin at firstname.lastname@example.org or via FB message.
The show runs weekends March 7th-22nd.
The Divine Sister is an outrageous comic homage to nearly every Hollywood film involving nuns. Evoking such films as The Song of Bernadette, The Bells of St. Mary's, The Singing Nun and Agnes of God, The Divine Sister tells the story of St. Veronica's indomitable Mother Superior who is determined to build a new school for her Pittsburgh convent. Along the way, she has to deal with a young postulant who is experiencing “visions”, sexual hysteria among her nuns, a sensitive schoolboy in need of mentoring, a mysterious nun visiting from the Mother House in Berlin, and a former suitor intent on luring her away from her vows. This madcap trip through Hollywood religiosity evokes the wildly comic but affectionately observed theatrical style of the creator of Die, Mommie, Die! and Psycho Beach Party
Agnes (20’s-30’s): An ethereal and earnest young postulant, experiences visions.
Sister Walburga (40’s-50’s): A stern and severe nun with a strong German accent and a secret mission.
Sister Acacius aka Lil (40’s-50’s): Brash and foul mouthed, sexually frustrated nun. Heavy New York Accent. Wrestling coach. Mother Superior's confidant.
Mother Superior aka Susan (40’s-50’s): Plucky and resourceful woman of God. Possibly played by a Man.
Mrs. Levinson (50’s-60’s): A devout atheist and outrageously wealthy older woman, classy but strong willed.
Jeremy (40’s-50’s): A dashing and worldly reporter, and Mother Superior’s long lost flame.
Brother Venerius (40’s-50’s): a sinister albino monk with a secret.
Little Timothy (any age): Young, vivacious child who goes to St. Veronica’s school
Mrs. Macduffie (40’s-50’s): Old Scottish charwoman
**Please note that some roles may be doubled.
For more information contact email@example.com.
For myself, as a director who has conducted auditions in a variety of venues, the most important aspect of your audition is your ENERGY and ENTHUSIASM. There are however, some simple DO’s and DONT’s that can help you to maximize your potential, show off your talent and get the most out of your experience. This is a general list; please see the show’s audition notice for any specifics.
DO — come prepared with a picture and concise resume.
DO — dress in comfortable, but professional attire; this is a job interview.
DO — arrive early to get settled and sign in before the audition time.
DO — choose an audition song in your vocal range that shows off your voice.
DO — choose an audition song similar in style to the show for which you are
auditioning. It is usually best to avoid singing from the show itself unless otherwise
DO — have your music neatly secured in a binder or taped together accordion style to avoid page turns. (the accompanist is your best friend in this situation)
DO — take a moment to set tempo with the accompanist.
DO — have your song memorized.
DO — become familiar with the music from the show.
DON’T — ask to sing a cappella.
DON’T — ask the accompanist to transpose your music.
DON’T — choreograph your song. If you are auditioning for a dance role, there will be a separate dance audition.
DON’T — apologize or make excuses for your performance. Enjoy the experience and present your piece to the best of your ability.
DO — have appropriate dance attire.
DO — realize that not everyone is expected to be a trained dancer, but if you are auditioning for musical theatre, chances are that the director or choreographer will want to see you move.
DON’T — apologize; perform the choreography to the best of your ability.
DO — check the audition notice to see if you should prepare a monologue or if you will be given sides to read at the audition.
DO — become familiar with the script.
If a monologue is required:
DO — choose something age and gender appropriate.
DO — choose something from a play rather than a monologue book.
DO — come well prepared with your piece memorized.
DONT — choose a monologue from a movie or one associated too strongly with a specific actor.
MOST IMPORTANTLY — this is community theatre. We are looking to build community through the arts. If all of the above fails, still SHOW UP! Every audition is a learning experience and a chance for you to grow as a performer. Directors are looking for directability first and foremost. Be flexible. Be willing to take healthy risks. A directable performer with positive energy, who will clearly be a team player, is far more valuable to a production than someone who is just technically proficient.
HAVE FUN! SEE YOU AT THE THEATRE!
TBTA Artistic Director