A retelling of the original sensation, injected with contemporary references and new arrangements. A small group of people help Jesus Christ tell different parables by using a wide variety of games, storytelling techniques, and hefty dose of comic timing. An eclectic blend of songs ranging in style from pop to vaudeville is employed as the story of Jesus's life dances across the stage. Dissolving hauntingly into the Last Supper and the Crucifixion, Jesus's messages of kindness, tolerance, and love come vibrantly to life.
Conceived and Originally directed by John-Michael Tebelak. Based on the Gospel of St. Matthew
Music and new lyrics by Stephen Schwartz
Show Dates Feb. 19, 20, 26, 27 at 7:30pm • Feb 21 at 3pm
Directed by Lisa Kirschner
Please come prepared to sing a musical theatre song in the style of Godspell or other Stephen Schwartz musicals. Songs from the show are welcome, but not required. An accompanist will be provided or you can bring your own tracks. There will be cold readings from the script and you may be asked to do some improv exercises. A dance audition will not be required, although there will be some simple choreography in the show.
Jesus: Charismatic, high energy, charming, funny, gentle but with strength. He is the sort of person others instinctively follow. Range: C3-G4
John The Baptist/Judas: He has attributes of both Biblical figures: He is both Jesus' lieutenant and most ardent disciple and the doubter. He is the most "serious" and intellectual of the group. Range: C#3-E4
Nick: Very high energy. Impish and playful. Range: B4-F#4
Telly: Not the brightest in the bunch, he is a little slow on the uptake. But there is a great sweetness and innocence about him. Range: D3-A4
George: The comedian, the class clown. Range: G2-G4
Anna Maria: A bit of a tomboy, but basically open and sweet. She is the first of the group to commit to following Jesus in the song "Day by Day." Range: C4-A4
Lindsay: The confident one, the show-off. The first one to volunteer, sometimes she jumps in before she really understands what's going on. Range: B3-B5
Uzo: The shy one. Sometimes a little slow to get things, but when she does, she commits all the way. Has an "earth mother" kind of warmth to her. Range: A3-F#4
Morgan : Sassy and slightly cynical, the most urban of the group. Also the "vampy" one, but this contains a large element of put-on, in the manner of Mae West or Madonna. Range: G3-F5
Celisse: The female equivalent of the class clown. Goofy and a cut-up. Range: A3-A5
There will also be some additional ensemble opportunities.
The beleaguered Turpin family proves that living and dying in the South are seldom tidy and always hilarious. Despite their earnest eff orts to pull themselves together for their father’s funeral,the Turpin’s other problems keep overshadowing the solemn occasion.
Written by David Bottrell and Jessie Jones
Show Dates: April 22, 23, 29, 30, May 7 at 7:30pm • April 24, May 1 at 3pm
Directed by Collette Miller
Auditions for How To Succeed… : February 7 at 3 pm, February 8 at 7 pm (February 9 at 7 pm for call-backs, as necessary)
How To Succeed… : This award-winning show, created by the same team that produced “Guys and Dolls,” centers on a young window washer, J. Pierrepont Finch and it follows his meteoric rise from the mailroom to the board room at the World Wide Wicket Company through the advice from a self-narrating, self-help book.
Music and lyrics by Frank Loesser
Book by Abe Burrows, Jack Weinstock and Willie Gilbert
ACP Performances: May 27, 28, June 3, 4, 10, 11 at 8 pm; May 29, June 5 at 3 pm
Directed by Patrick Williams
Please come prepared to sing a musical theater song, preferably one consistent with the character(s) from this musical for which you would like to be considered. You should familiarize yourself with the show before your audition. If you are called back, you should be prepared to sing a song by the character for which you are being considered. Tracks will be available through the box office prior to auditions. An accompanist will be provided for auditions, or you may audition with tracks. Please come prepared to perform your audition piece at your best on your first try. Depending on time constraints and the number of people who audition, you will may not be given the opportunity to improve on your first audition piece. You may, however, sing another song for another role. Also, no one will sing an entire song (only about 16 bars will be needed), so get to your highlight(s) right away. Although not all roles demand dancing, please come prepared to do some basic movement to assess your dance skills.
Pierrepont (Ponty) Finch: Male baritone/tenor. Age 20-30. Lead. Finch facilitates his own meteoric rise from window washer to Chairman of the Board of the World Wide Wicket Company by following the rules he reads in an informative little book. With quite an opportunistic, self-centered personality, the role requires an actor with natural charism and charm to keep the audience on his side.
Rosemary: Female mezzo. Age 20-30. Lead. A secretary who is far more interested in finding a man to ,marry than advancing her career. After meeting Ponty, she immediately sets her sights on becoming Mrs. Finch. For the character of Rosemary to really work she needs to be played more playful than serious.
J.B. Biggley: Male baritone. Age 50-70. Supporting Lead. President of the World Wide Wicket Company. Underneath his ruthless exterior he is a college lad at heart with a secret passion for knitting. Hedy LaRue is his not-so-secret love interest, although he is already married.
Bud Frump: Male baritone. Age 20-30. Supporting Lead. The boss’s nephew and Finch’s nemesis. An arrogant, obnoxious young man who makes numerous attempts to advance his career through devious schemes and by using his family connections. A very funny part, the role requires an actor who is not afraid to exploit is “inner dorkiness.”
Hedy LaRue: Female mezzo. Age 21-45. Supporting Lead. Attractive, head-turning ex-night club cigarette girl who gets a job at the company because of Biggley’s personal interest in her. She may appear to be dim-witted, but she knows how to use her looks and personality to get what she wants.
Miss Smith (Smitty): Female mezzo. Age 25-45. Supporting Lead. A cynical, single working woman with a dry sense of humor. She is a good secretary who is also after a man, but perhaps for more short-term rewards than her best friend Rosemary.
Miss Jones: Female soprano, Age 35-70. Supporting Role. J.B. Biggley’s secretary who enjoys the respect her position and mature years command. She can be abrupt and tough, but she is kind-hearted to those who are good to her.
Bratt: Male baritone. Age 30-50. Cameo Role. The Personnel Manager, adept in the main skill required for holding his job – agreeing with the boss.
Mr. Twimble: Male baritone. Age 50-70. Supporting Role. A fussy, old-fashioned loyal company man with 25 years of service spent climbing from mail room worker to head of the mail room. Believes his longevity is due to his lack of ambition and his knack at staying unnoticed. His role may be doubled with Mr. Womper.
Gatch: Male baritone. Age 30-50. Supporting Role. A sleazy, almost-successful executive. Finch furthers his career by taking advantage of Gatch’s penchant for the ladies.
Miss Krumholtz: Female mezzo. Age 25-65. Cameo Role. A secretary to Mr. Gatch, then secretary to Finch.
Ovington: Male spoken. Age 30-65. Cameo Role. Head of the advertising department until he is fired by Biggley for being a “Chipmunk.” His role may be doubled with TV announcer.
TV Announcer: Male Spoken. Age 30-50. Cameo role. His role may be doubled with Ovington.
Mr. Womper: Male baritone. Age 55-70. Cameo Role. Company Chairman with a similar past to Finch. His role may be doubled with Mr. Twimble.
Policeman: Male spoken. Any age. Cameo Role. Actually a uniformed company security guard. May be doubled.
Scrubwomen: Female spoken roles. Any age. May be doubled.
Executives/Secretaries: Although all roles are adults, anyone who can be made to look age-appropriate will be considered.
NOTE: The unnamed Executives and Secretaries in this show are more than mere chorus members or human props to fill up space on the stage – these ensemble players serve a critical role in moving the action and advancing the storyline. All those selected for these roles will be vital assets of this show.
KISS THE MOON, KISS THE SUN
A pregnant young woman and a mentally challenged man meet at a bus stop and
begin a friendship that will change their lives forever
Performed in the Bechtel Experimental Theatre
Written by Norm Foster
Show Dates: June 24, 25, • July 1, 2 at 7:30pm • June 26 at 3pm
Directed by Bob Franklin
FREUD'S LAST SESSION
Dr. Sigmund Freud invites the young, rising Oxford Don C.S. Lewis to his home in London. On the day England enters World War Two, Freud and Lewis clash about love, sex, the existence of God, and the meaning of life.
Performed in the Bechtel Experimental Theatre
Written by Mark St. Germain
Show Dates: July 15, 16, 22, 23 at 7:30pm • July 17 at 3pm
Directed by Maureen Woltermann
Stay tuned for audition information!