Beat-By-Beat Casting Call!!
Helping to promote this brilliant initiative that's going on at the moment and one that I'm proud to be a part of...There are three new musicals that are open for audtions out of the six that will be staged in March. Read on!
Casting call people!!!!
BEAT-BY-BEAT CASTING CALL January 2006
TAKE PART IN NEW MUSICALS!
Can you sing and act? If so, you may be the one we're looking for. You are invited to audition for 3 exciting original musicals to be staged on 24-26 March 2006. A small honorarium will be given.
Interested parties may walk in for an audition. If you would like to confirm your schedule, please contact Tamara at 81134292 or email firstname.lastname@example.org
DATE: Saturday 21 Jan 2006
Sunday 22 Jan 2006
TIME : 3:00 to 6:00 pm
PLACE: The Next Stage Academy, 420 Clemenceau Avenue North, adjacent to the carpark at Newton Food Centre. It's opposite Cairnhill CC , 5 mins walk from Newton MRT.
Please prepare TWO SONGS (One slow/ One Fast) to be sung acapella or accompanied by your own minus one. Bring along a photograph (any photo will do) and your bio-data/resume if possible.
1. THE SWAMI, THE COW, AND THE SPACEMAN
A psychedelic comedy about an American astronaut from the 60s who crashes on a mountain in a failed attempt to reach the moon, and meets an Indian swami and his talking cow. Cultures collide, and the world turns upside down.
(i) Swami (m) 40+
A hermit and religious ascetic who lives on the mountain and enjoys milk and chapattis; Actor should either be Indian, or can do an Indian accent.
(ii) Cow (f) –
A sassy, young talking cow, dressed in the bright flower power dresses from the 60s, and Swami's companion. (Role taken)
(iii) Spaceman (m) 20-30
An American astronaut (born and raised in Texas) on his way to the moon; Actor should either be American, or can do an American (Southern/Texan) accent.
2. TEN DAYS OF MOURNING
A coming-of-age story about a Singapore Indian girl who faces issues of cultural and personal identity during a visit to India. 10 Days ofMourning features modern song structures and lyrical styles using Indian scales.
(i) Veena: 20
Veena is wilful. Her relationship with her mother is tense, as Veena tries constantly to assert her independence. In the early scenes, she practices disengagement from the family, in rebellion for having to leave the comforts of home and her life in Singapore, to visit her grandparents in India. She eventually comes around, due largely to her Grandfather's gentle persuasions and some eye-openers from a young musician (Raj). When the musical closes, she understands herself, her family and her culture better than when she reluctantly arrived in India.
(ii) Mother: 40
Veena's mother, having married and had Veena at an early age. She is the sort of person who accepts her fate calmly and makes the best of any situation, believing it better to live happily in the moment. Partly, she has learnt this the hard way, after the death of her husband, early in their marriage, and since she has had to raise her child alone. She is also a musician (she played the Veena) who gave up that passion when she took on the roles of wife and mother. Veena's mother, in her gentle way, teaches Veena about respect, selflessness and that regret is something we should avoid incurring at all cost.
(iii) Grandfather 60s
Veena's grandfather is a dignified man with a gentle, wizened air about him. He is responsible for much of Veena's transformation because he is the only one who does it in a kind, loving way. He often communicates in metaphors, but always makes a strong point. He is the one to first break through Veena's icy exterior.
(iv) Grandmother 60s
Veena's grandmother is playful and humorous. She teases Veena relentlessly and is not averse to colluding with Veena's mother to makes jokes at Veena's expense. She doesn't do this to be mean but rather to counteract Veena's iciness and sulkiness. Whereas Veena's Grandfather gently coaxes Veena out of her shell, Veena's Grandmother playfully heckles her out of it.
(v) Raj: Late 20s
A young, celebrated and widely-travelled musician whose father (also a musician) used to play with Veena's mother. Veena is instantly drawn to him (but not in an overtly romantic way), because of his youth and because of his exposure to other lands and cultures. Veena quizzes him about why he keeps returning to India when he could choose to liveanywhere else, and in replying, Raj opens Veena's eyes to the beauty of her motherland.
EnsembleThree or four people are required for the first scene, in which a beggar-woman and a drinks seller harass Veena and her mother.
3. ROSES AND HELLO
A spunky flower shop owner fights the acquisition of her property by a law tycoon, whose son falls in love with her.
Main Cast: All singing parts
(i). Chris Wee (Male lead) Mid/late 20s
An up-and-coming lawyer in the law firm Wee, Bill & Soo LLC. Son of the firm's senior partner, but also capable, competent, and charming. However, also youthfully naive and has yet to face real challenges in his life.
(ii). Penny Lee (Female lead) Mid/late 20s
Penny inherits a flower shop, "roses & hello", from her mother. Spunky and determined to succeed, she commits herself to keeping the business afloat, against the advice of those around her. One of Chris' love interests in the play.
(iii). Mr William Wee Late 50s
Senior partner in Wee, Bill & Soo LLC. Chris' father. Fights to maintain the firm's reputation. Wee finds himself slowing down with age, and hopes that Chris will take over the reins in the firm.
(iv). Mr Richard Sooreej (tentatively a character of Indian ethnicity, but may be flexible) Late 40s
Senior partner in Wee, Bill & Soo LLC. A driven, self-made man who will let nothing stand in the way of his success. Has a dubious relationship with Stella.
(v). Stella Mid/late 20s
Rising star in Wee, Bill & Soo, and also a bombshell of a woman. Intelligent and witty, but also as cold as ice. Chris is shamelessly infatuated with her.
(vi). Annie Ting 50s
Secretary to William Wee. They have a deep friendship that has spanned decades - a relationship that might or might not be amorous in nature.
Also casting for a chorus of 4-6 characters.
Chorus members must sing and dance (although dancing is optional for the upcoming "highlights" showcase)
Chorus will play different characters in the course of the play, but most of the time assume the character of a lawyer in the firm. Parts have been written for individual chorus members (tentatively 4 female and 2 male)
Chorus will also be required to rehearse as intensively as the leads.