Audition Workshop - Monday, Nov 2 4-6PM - see you there!

 

Announcements

 

 

March 6

This years Boston Pizza night will be on Wednesday, March 16th. Our reservation is from 10pm-12am at the 1919 Bishop Grandin location. Everyone is to bring $13 to get in the door, and bring an extra dollar for the tip, which they can give to our stage manager that night.

 

March 3

We are looking for a pink, blue or white rug to use for Marty's bedroom. Please let us know if you have one we can borrow.

 

Also, we need to clarify if the pompoms for the cheerleaders are for props to find or costumes and can you give a note to Mrs. Forester if she has spare fancy floral jacket and pants for Marty? It's for Freddy My Love, the guys bring gifts to Marty which are those things. 

 

 

Feb 20

1. Every rehearsal from here on out is an ALL CALL. You may not be needed for the entirety of each rehearsal, but plan to be there until the end time of each rehearsal. Regardless, you will be needed at the start of every rehearsal. We have yet to have a single rehearsal with perfect attendance - let's try and make that happen this week.

 

2. Bring all costume pieces to next Saturday's (Feb 27) rehearsal.

 

3. It's time to step up your game.  Be absolutely sure you are using the resources given to you (choreo videos, audio study tracks, etc.) to make sure that you are coming PREPARED to each and every rehearsal. Don't aim to get prepared during the course of the rehearsal. We want to "RE-HEAR" what you have prepared in the RE-HEAR-SAL.

 

4. Vocally speaking, here is my list of priorities (below). If you are involved in one of these numbers, be sure that you have it learned forwards, backwards, sideways, inverted, etc. before Tuesday, February 23.

 

 

This production has great POTENTIAL to be amazing - the choice is now yours. Do you want it to be amazing? The show's awesomeness rests very heavily on what you do OUTSIDE of rehearsal. It's up to you.

 

 

Mr. Crowe's Priority List (prioritized top-down ie)I'm most concerned about Beauty School Dropout, then Mooning, etc....):

 

Urgent Category

Beauty School Dropout (Angels)

Mooning

Rock & Roll Party Queen

 

Semi-Urgent Category

Alone At The Drive-In Movie

You're The One That I Want

Those Magic Changes (ensemble)

Born To Hand Jive

Shakin' At The High School Hop

 

Haven't revisited in a while Category

Look At Me, I'm Sandra Dee (reprise)

Summer Nights

Greased Lightning

Rydell Fight Song

We Go Together/Finale​

 

 

 

Jan 27

Below is our list of CHEERLEADERS ‎

Look at the Fight Song for Saturday, please.

 

CHEERLEADERS are:

 

1. Erin Ryan - Patty

2. Kaitlin Cruz

3. Katie Anne L'Arrive

4. Jessica Penner

5. Jewel McLaren

 

Girls TRYING OUT to be CHEERLEADERS are:

 

6. Genevieve -Sandy

7. Trishlin Dela Cruz

8. Lilja Best

9. Gloria Bahati

10. Sabrina Witwicki

11. Victoria Turko

12. Amanda Koersvelt

13. Jessie Aldana

14. Devon Helm

15. Morgan Werschler

 

 

Jan 23

1)Please expect schedule changes over for next week's rehearsals. We will forward them as soon as we know the exact details. After today's rehearsal, it is clear that there are some areas in act one that will require more attention. Please be sure to check your emails and this website ​regularly for updates.

 

2)Please review Ms. Forrester's costume document (emailed to you). It is your responsibility to know this information and act on it accordingly. The information will also be available on the website under MATERIALS > COSTUMES. The link is HERE if you need it.

 

 

Jan 20

Tickets are now on sale in the main office.  I want to stress the importance of selling these shows out as a)the show is going to be amazing and deserves to be seen by as many people as possible and b)this show is really expensive to produce, so the sales will help to keep the program nice and healthy.

 

Also, reserved seating can only be done if the person in question has an ailment that prohibits them from enjoying the show. If a person you know is coming to the show and in need of priority seating, you must fill out the a PRIORITY SEATING REQUEST FORM and bring it to me well in advance of the show date.

 

Jan 2

Enselmble assignments - please be sure you are at each rehearsal for which you are called in the following:

 

****Miss Lynch's call for Beauty School Dropout will be on FRIDAY Jan 29th, NOT on the 28th***

 

 

SUMMER NIGHTS

 

T-Birds (all)

Pink Ladies (all)

Patty (Erin Ryan)

 

Spencer

Gloria B

Lilja B.

Kaitlyn C.

Thrishlin D.

Victoria T.

Amanda K.

Jewel M.

Sabrina W.

Madison C.

Katie Anne L.

Kyra O.

Morgan W.

Thomas M.

Liam S.

Carson T.

Wes G.

Ben H.

Jessie A.

 

THOSE MAGIC CHANGES

 

T-Birds (all)

Pink Ladies (all, will exit early)

Patty (Erin Ryan)

Eugene (Spencer)

Ms. Lynch (Courtney)

 

Enny O.

Twashta R.

Maggie C.

Ashley Hunter

Megan Ryan

Anastasia A.

Alexis F.

Ashley Heilmann

Emma H.

Devon H.

Jessica P.

Nikko B.

John C.

Kenyon D.

Eric L.

 

BEAUTY SCHOOL DROPOUT

 

Teen Angel (Ben Hill)

Ms. Lynch (Courtney) *** only called on FRI Jan 29th NOT on the 28th

 

Gloria Bahati

Erin Ryan

Victoria Turko

Jewel McLaren

Sabrina Witwicki

Kyra Outhwaite

Morgan Werschler

Jessie Aldana

 

 

 

Dec 14

Changes to the schedule:

Tuesday, Dec 15

Danny, Doody, Roger, Kenickie, Sonny, Vince and Eugene are no longer called with Mr. Kohut at 4:00

Pink ladies are to prepare Secene 4, NOT scene 7

 

Thursday, Dec 17

Spencer, Eric and Thomas are now added to Freddy My Love

 

 

Nov 30

Please do me this little favour, if you don’t mind (follow directions below).

 

1)Print off the Alma Mater Scene attachment. Go HERE if you need a copy.

2)Cut out pages 7 (all)  and 8 (up to Scene 2) from the attachment – be sure to cut really close to the text.

3)Find page 3 in your script – note – it’s blank!

4)Paste, tape, glue, adhere, affix pages 7 & 8 from the attachment perpendicular to the text on page 4 of your script.

 

Nov 20

After three days and 51 auditions, I just want to extend a huge congrats on behalf of myself, Ms. Pooley and Mr. Kohut.  There were SO

MANY great auditions and it was clear that a lot of time and effort was invested into your endeavors. For what it’s worth, I’m very proud of all of you. It takes a tremendous amount of courage to do what you’ve done and you have my utmost respect for your bravery.  Thank you for sharing your talents with us.

 

I’m an incredibly lucky person to work with such a fine group of individuals such as yourselves.

 

For those of you who have callbacks on Monday – I wish you all the best. Break a leg.

 

Next Friday (Nov 27) we begin (at 4PM sharp!) with our read through. Let’s make this the best production of Grease this side of Broadway!

 

 

 

Nov 12

As a result of the small number of people who have signed up to perform in tomorrow night’s talent show, I have decided to cancel it for now. If people were really wanting this event to take place, we could look at doing it sometime during the process

 

 

Nov 3

Notes from Mr. Kohut:

 

PREPARING A GENUINE MONOLOGUE/SCENE/SONG

 

1) CONTEXT

• Read the play or musical that the scene/song comes from to understand its context and how it fits into the whole play/musical

• If you can't find the play or musical, use the internet - wikipedia, google and youtube for research

• What is the meaning of the play?  Why did the playwright/composer write it? (again - use internet - ask google these questions and read analysis articles and blogs)

 

2) GIVEN CIRCUMSTANCES

• Who are you? 

• Where and when are you?  

• Why are you there? 

• What has happened right before this moment? What caused this moment to happen?

 

3) CONNECTING EMOTIONALLY

• Think about the given circumstances and how the situation must feel for the character

• If you haven't personally experienced the circumstances create a parallel for yourself using 'It's As If' - drawing from your own personal experience.  

• Make an 'it's as if' comparison that is as high stakes as possible - approaching life or death is ideal.

 

4) FOCUSING THE PERFORMANCE

• Who are you speaking to?

• Where is this person or audience in the room?

 

5)  ESSENTIAL ACTION

• The essential action is CRUCIAL.  It is the most important part of any performance!

• What do you want from the person you are talking to in the scene/song?  

• What do you actually get if you are successful in achieving your essential action?

• What happens to you if you are unsuccessful in achieving your essential action.

 

6) TIPS ON DELIVERING A CLEAR PERFORMANCE

• Be clear who you are speaking to and where they are in the room

• Let your performance be driven by your essential action 

• BREATHE - steady breathing will enable your mind and body to connect 

• LISTEN to both your scene partner and/or your own internal thoughts

• THINK THINK THINK - don't pretend to be or portray an emotion, instead think about what you just heard, about what you just realized and actually think in your performance.  These thoughts and how they relate to your Essential Action are what will spur genuine emotion, genuine reaction and a genuine performance.

• REACT spontaneously in response to these thoughts.  This is being in the moment.

 

7)  ENDING YOUR PIECE

• Make sure you end your piece.  Sounds obvious, but it is often overlooked

• The last word or note is not the end of your piece - its the moment after!

• Take a moment to hold that last pose and more importantly -  that last thought.  This tells us that your performance is over and we feel it is complete.

• Once you have established an end, then you can release the character and return to the real world.

 

 

Nov 2

Notes from the workshop:

 

General Expectations:

• You will be expected to have all your material memorized.

• Each segemnt of your audition should not exceed 90 seconds (90 second dance, 90 second monologue, 90 second song).

• You must bring your own music for your dance piece (phone, ipod or mp3 player).

• If you don't bring your own music, Johnny B. Goode by Chuck Berry will be your default dance music.

• The characters in Grease are very genuine and have loads of confidence. We will want to see that in all elements of your audition.

 

Questions and ideas to consider when preparing all elements of your audition:

• What are the given circumstances?

• Who are you (character)?

• What can you tell us about her/him/them?

• Where is this (monologue/song/dance) happening?

• Make sure you know the difference between Grease the film and Grease the script.

• When does this event take place?

• What is your character thinking at the time?

• Know the play as a whole!

• Consider the question "it's as if...." and push it to the most extreme - raise the stakes as far as you can (life or death).

 

Specifically on Dance:

• Feel free to use the elements of what you learned in the workshop to supplement your dance piece.

• The dance pieces learned in the workshop included The Bop and The Jitterbug.

 

Specifically on Song:

• Choose a piece from the correct genre (Rock musical).

• Know the difference between musical theatre singing and choir singing as they can be very different.

• Choose a piece with which you are familiar and makes you sound good.

• Choose a key that fits best with your voice.

• Choose a song that has lyrics that resonates with you.

 

Other:

• Take time to read "Inside Grease" for greater insights.

 

 

 

Oct 31

All potential cast must provide a copy of their monologue by Nov. 13 on an 8.5 x 11 sheet of paper.