Christ Wesleyan Theatre Productions is excited to announce
its summer dessert theatre performances of:
The creative team responsible for a recent Broadway flop (in which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy lover of the Arts. The house is replete with sliding panels, secret passageways and a German maid who is apparently more than one person–all of which figure diabolically in the hilarious mayhem that follows when the infamous “slasher” makes his reappearance and strikes again.
- Who can audition?
Anyone age 18 and up. You do NOT need to attend Christ Wesleyan or any church for that matter.
- When to audition:
Saturday, February 10 – Anytime 10:00am – 2:00pm or
Sunday, February 11 – Anytime 1:00 – 5:00pm
Auditions will take place in the order of arrival.
The Auditorium at Christ Wesleyan Church, 363 Stamm Rd. Milton, PA 17847
- What to prepare:
Find your own monologue/solo piece. Can be, but doesn’t need to be, from this play. 5 min. max!
- Is there singing? No
- When are performances?
(This is a dessert theatre, not a full dinner theatre.)
Thursday, June 14 – 7:00pm, Friday, June 15 – 7:00pm, & Saturday, June 16 – 2:00pm
7 Tips for Auditioning for The Musical Comedy Murders of 1940
1. Act. Don’t just read.
Remember, you are auditioning to act in a play. Yes, there are times when simply being a cute little kid is enough, but for the most part, we are looking for actors. So many people stand before the director and just say the lines they were given that when someone really tries to act out he part, they make an impression.
2. Learn a little bit about the play you’re auditioning for.
The more you understand the play and the characters, the more you’ll be able to do with the piece of script you’ll be given to audition with.
3. Take the time you need to prepare.
Remember Rule #1–Act. Don’t just read. Be familiar with your audition piece. Don’t worry that it isn’t the part you want in the play, or even part of this play at all. Parts will be assigned after the auditions. We just want to know you have the ability to actually act.
4. Slow down and enunciate every word.
One sure sign of nervousness is speeding through the lines. When you talk too fast, it is harder to make sure each word is understood, and the emotion that should accompany those words does not come through. Slow down and make sure you can say each word clearly.
5. If you make a mistake, battle through it.
Even the best actors occasionally make mistakes onstage. But good actors know how to work through their mistakes without letting the audience realize that a mistake was made. One of the things we are looking for is poise. We want to know how you will react when things don’t go as rehearsed. If you fall apart during an audition, it doesn’t give the director much confidence that you will react well on the nights of the show. If you do make a mistake, don’t apologize. Don’t ask to start over. Just pick up from where the mistake was made and push forward.
6. Be humble.
No one is guaranteed a spot in a play. It doesn’t matter what other roles you’ve had or other theatres you’ve worked with. Each part has someone just right for the role…that may be you, but it might not be also. That doesn’t mean you’re not a good actor. If you come across as being someone who is hard to work with, it makes it much more difficult for the director to give you a part. We have seen quite a few actors walk into an audition because they just assume they will be given a part, and their audition is flat and uninspiring. Then they are shocked when they didn’t get a major role in the play. If you are serious about wanting a role, you need to give it your best. Every time. If you have acting experience, we will know from the information on your audition form. It is not unusual that a person with no previous acting experience gets a good part because they blew us away in the auditions.
7. Audition often.
One of the biggest obstacles between you and getting cast in a play is your nervousness. Nervousness makes you more timid. It makes you rely on the script in your hand too much, so you end up reading and not acting. It makes you talk too fast. It makes you less memorable and more likely to get lost in the crowd. The best way to overcome your nervousness is to practice. That means auditioning more. If you don’t get the part, shake it off as a learning experience, and when the next show rolls around, go out and audition again. The more you go through the process, the easier it becomes.
Helsa Wenzel – the German maid. A humorless woman in her 30s (German accent)
Elsa Von Grossenknueten – the Host. An attractive middle-aged woman of solid Bavarian stock with a flair for the dramatic as well as the culinary arts. Espionage is in her blood.
Sergeant Michael Kelly – the Law. A large middle-aged man, Sergeant Kelly is a New York City police officer.
Mr. Patrick O’Reilly – an Actor. A blue-eyed Irish tenor in his early 40s a rather sinister-looking man. (Bad Irish accent, actually German)
Ken De La Maize – the Director. An attractive self-absorbed man in his mid-40s who likes to drop names. His tan and clothes are very Hollywood.
Nikki Crandall – an Actress/Dancer. A beautiful young woman in her mid to late 20s
Mr. Eddie McCuen – an Actor. Mr. McCuen is a struggling young comedian in his mid-20s with an endless supply of bad jokes.
Mrs. Marjorie Baverstock – the Producer. Mrs. Baverstock is anywhere between 30 and 60 years old; she dresses and carries herself like royalty. (Snooty, high class type)
Bernice Roth – the Librettist. A woman in her 40s who dresses like a gypsy dancer. She is drunkenly ascorbic, and has absolutely no espionage in her blood.
Roger Hopewell – the Lyricist. The outrageous songwriting partner of Bernice, Hopewell can whip out quips with the speed and panache of a Noel Coward character.