�鶹ӰԺ

"Trial by Fire"

By Eric Mansfield 

Directed by Courtney Brown

Audition Information

Auditions: November 12 and 13 – 6 p.m.-10 p.m., Center for Performing Arts, Room D205

1. Auditions are open to all �鶹ӰԺ State students

2. For the initial audition, all spring shows will be holding one group audition. Please prepare for "The Wiz" and "Men in Boats," per director’s request.

3. If you are choosing a character you connect with whose gender identity differs from your own for the "Men in Boats" audition, that is fine to use but if you want to audition for just "Trial by Fire," feel free to prepare a monologue/character that aligns your gender identity.

What to Prepare:

1. 60-90 second monologue from a play written after 1850.

a. Monologues can be comedic or dramatic. If you are auditioning for "Men on Boats" and "Trial By Fire," we recommend choosing a character you connect with whose gender identity differs from your own. If you are only auditioning for "Trial by Fire," feel free to prepare a monologue/character that aligns with your gender identity.

b. If the monologue isn't memorized, that is fine, please audition anyway.

2. For "The Wiz," prepare a cut of a song that is 60 seconds or less in the style of the show. Bring sheet music in the correct key, accompanist provided. We understand all B.F.A. Musical Theatre majors are required to audition with a song. "The Wiz" will cast from the BIPOC �鶹ӰԺ State community.

Signing up

1. Sign up for a 3-minute time slot. More slots will be added in the 9-10 p.m. hour when previous slots fill up.

2. Fill out and submit this audition form by Monday, November 11th at 5:00pm. Please be prepared to upload a headshot and resume through .

Callbacks

November 15 at 6 – 10 p.m.

Callback will consist of sides from the script. They will be circulated when the callback list is announced.

Auditions will be held in conjunction with auditions for other spring productions, including "The Wiz" and "Men on Boats." Directors and stage managers from all three production teams will be present for your audition – you may audition for all three productions (presenting a monologue and song) or choose to only audition for the plays or musical (presenting either a monologue or a song accordingly).

Dates and Details (rehearsal process):

"Trial by Fire" runs February 7, 8 and 9, with tech beginning Monday and Tuesday, February 3 and 4. It is anticipated we will do table work November 25 and 26 before Thanksgiving break, from 6 – 10 p.m.. Rehearsal will resume on Monday, January 13. Generally, we will rehearse 6 – 10 p.m. Monday – Friday and 2 – 8 p.m. on Sundays.

�鶹ӰԺ the Play

Synopsis: When word spreads that a new Women’s Studies teacher at a Catholic high school has been allowing her students access to books from the conservative governor’s new banned book list, five teen girls look for a way to save their teacher’s job and reputation. You can read the script here.

Content Disclosure: the play deals with themes of censorship, misogyny, and access. References to banned books!; suicide, self-harm, death; sexual assault, rape; Micro aggressions.

Character Descriptions 

Pronouns describe characters as written. Trans, non-binary, and gender non-conforming actors are encouraged to audition; a character’s presumed gender can be in conversation with the actor’s gender identity.

Georgia Grimm: An English teacher beginning her first year at Knights Academy, her alma mater. She is one of the few women teachers and only Black woman on faculty.

Dan Shaw: White. Former police officer now working as a state mediator.

Sydney Adams: all ethnicities. An avid reader and writer. Possible physical or non-visible disability.

June Johnson: all ethnicities. Student athlete. Determined and focused. Nickname JJ.

Audrey Thompson: all ethnicities. Intellectual and committed to her school work. Natural leader.

Clara Connors: all ethnicities. Shy, bookworm. Rule follower.

Talea Simpson: Black, Latina, Indigenous, Asian/South Asian, MENA. Focused on preparing for college. Outgoing. Wants to be a lawyer like her mother.

AUDITION REQUIREMENTS FOR B.F.A. MUSICAL THEATRE STUDENTS

“B.F.A. Musical Theatre candidates are required to audition for all theatre division main stage productions and accept roles if cast. Exemptions to the audition requirement may be granted under certain circumstances. Circumstances include but are not limited to: religious beliefs, moral objection, psychological triggers with the play, and physical concerns. In order to be exempted from the audition requirement, students must submit a written petition to the performance faculty prior to the beginning of the casting process for the production in question. The performance faculty will make a good faith effort to deliberate and come to a decision on the petition at the first performance area meeting after the receipt of the petition. At no point will a student be asked to disclose sensitive personal information.”

For information on all the B.F.A. Musical Theatre requirements please go to the following. /theatredance/revised-requirements-bfa-musical-theatre-program

"The Wiz"

Book by William F. Brown

Music and Lyrics by Charlie Smalls

From the Story The Wonderful Wizard of Oz by L. Frank Baum

Directed by Ansley Valentine

Choreographed by TBA

Music Directed by Jonathan Swoboda

�鶹ӰԺ "The Wiz" 

A beloved Broadway gem, "The Wiz" infuses L. Frank Baum’s "The Wonderful Wizard of Oz" with a dazzling mix of rock, gospel and soul music. This timeless tale of Dorothy’s adventures through the Land of Oz is a fun, family-friendly, modern musical.

Please use to access the libretto and callback materials.

Rehearsals

Music Rehearsal: (Tentative) Monday through Wednesday December 2-4 at 6-10 p.m.

Staging and Choreography Rehearsals: January 13-February 12, Monday through Friday and Saturday OR Sunday 6-hour block or 7 out of 8 hours.

Sitzprobe: Thursday, February 13, 2025

Technical Rehearsals Begin: (tentative) Friday, February 14, 2025

Performances

February 21 through March 22, 2025 (10:00 a.m. High School Matinee on February 26)

Casting Statement 

"The Wiz" will cast from the BIPOC �鶹ӰԺ State community.

Preliminary Auditions

Open to ALL �鶹ӰԺ students. Auditions will be held in conjunction with auditions for other spring productions, including "Trial By Fire" and "Men on Boats." Directors and stage managers from all three production teams will be in present for your audition – you may audition for all three productions (presenting a monologue and song) or choose to only audition for the plays or non-sing roles in the musical (presenting only a monologue accordingly).

When/Where: 
Tuesday, November 12 and Wednesday, November 13 (6:00 p.m. to 10:00 p.m.) Center for the Performing Arts – Room D205. 

Callbacks:
Thursday, November 14 beginning at 6 p.m., Center for the Performing Arts, location TBA.

Sign-Up: 

1. Auditions will be scheduled in 3-minute slots.
   
   More slots will be added in the 9-10 p.m. hour when previous slots fill up.
2. Fill out and submit this audition form by Monday, November 11 at 5:00 p.m.. Please be prepared to upload a headshot and performance resume through this form.
   

What to Prepare

1. 60-90-second monologue from a play written after 1850. 
   1. Monologues can be comedic or dramatic. If you are auditioning for "Men on Boats" and "Trial By Fire," we recommend choosing a character you connect with whose gender identity differs from your own. If you are only auditioning for "Trial by Fire," feel free to prepare a monologue/character that aligns with your gender identity.
   2. If the monologue isn't memorized, that is fine, please audition anyway.
2. For "The Wiz," prepare a cut of a song that is 60 seconds or less in the style of the show. Bring sheet music in the correct key, accompanist provided. We understand all B.F.A. Musical Theatre majors are required to audition with a song. "The Wiz" will cast from the BIPOC �鶹ӰԺ State community.

Character Breakdown

DOROTHY: Female, 13-16 (Range: Mezzo Soprano, G3-Bb5)
Bright eyed and alive as can be. Would rather remain a child as long as possible instead of accepting the responsibilities of adulthood.

SCARECROW: Male, Age Flexible (Range: Tenor, A2-A4)
Tired of being a scarecrow and the prospect of not going anywhere. Embarks on the journey to see The Wiz in hopes he can provide a brain.

TIN MAN: Male, Age Flexible (Range: Baritone/Tenor, D3-Bb4)
Human at one time. Lost all his limbs to a cursed axe. Joins in the journey in hopes the Wiz will provide him a heart because “it isn’t enough to be good-looking.”

LION: Male, Age Flexible (Range: Baritone/Tenor, G2-Bb4)
Travels around the jungle scaring people, but has “a yellow streak a mile wide.” Coward state stems from deeper mother issues and gets regular counseling from an owl. Joins in the journey to see the wiz to gain some courage.

THE WIZ: Male, Age Flexible (Range: Tenor, C3-A4)
All-powerful leader over the land of Oz. Hides his true nature behind the façade of a temperamental leader. His true identity is an enigma.

AUNT EM: Female, Late 30's (Range: Mezzo Soprano/Alto, G3-C5)
Dorothy's Aunt. Life has not been easy for her and promises little else. Harsh towards Dorothy at times, but acts out of love.

UNCLE HENRY: Male, Late 30's (Non-Singing)
Dorothy's Uncle. Physically run-down from years of hard work on the farm. Often acts as the voice of reason towards Aunt Em.

ADDAPERLE: Female, Age Flexible (Range: Alto, F3-C5)
Good Witch of the North. Has magic powers she refers to as "doing tricks." Her magic abilities don't always pan out as well as she would like them to.

EVILLENE: Female, Age Flexible (Range: Alto, G3-Db5)
Wicked Witch of the West. Low-down evil. Not a kind bone in her body nor kind thought in her rotten mind.

GLINDA: Female, Age Flexible (Range: Mezzo Soprano/Soprano, C4-D6)
Good Witch of the South. Prettiest of all the witches. Very wise in the way of show-business.

YELLOW BRICK ROAD: 4 Actors, Male or Female, Age Flexible (Range: Flexible, F3-Db4/F4-Db5)
Four dancing actors combine to create the Yellow Brick Road. Metaphorically represents the road Dorothy travels down, encouraging her along the way.

GATEKEEPER: Male, Age Flexible (Non-Singing)
Guards the gate to the Emerald City.

LORD HIGH UNDERLING: Male, Age Flexible (Non-Singing)
Weak coward. Evillene's number one.

WINGED MONKEY: Male, Age Flexible (Non-Singing)
Servant of the Wicked Witch of the West. Summoned to do her bidding. The mere mention of him brings fear.

ENSEMBLE: PIT SINGERS, TORNADO, MUNCHKINS, CROWS, KALIDAHS, POPPIES, FIELD MICE, EMERALD CITY CITIZENS, SOLDIER, MESSENGER.

AUDITION REQUIREMENTS FOR BFA MUSICAL THEATRE AND MFA STUDENTS

“B.F.A. Musical Theatre candidates are required to audition for all theatre division main stage productions and accept roles if cast. Exemptions to the audition requirement may be granted under certain circumstances. Circumstances include but are not limited to: religious beliefs, moral objection, psychological triggers with the play, and physical concerns. In order to be exempted from the audition requirement, students must submit a written petition to the performance faculty prior to the beginning of the casting process for the production in question. The performance faculty will make a good faith effort to deliberate and come to a decision on the petition at the first performance area meeting after the receipt of the petition. At no point will a student be asked to disclose sensitive personal information.”

For information on all the B.F.A. Musical Theatre requirements please go to the following. /theatredance/revised-requirements-bfa-musical-theatre-program

"Men On Boats" 

by Jaclyn Backhaus

Directed by Caitlin A. Kane

Audition Information 

Please read it in its entirety.

�鶹ӰԺ "Men On Boats" 

Ten explorers. Four boats. One Grand Canyon. "Men On Boats" is the true(ish) story of John Wesley Powell’s 1869 expedition down the Grand and Colorado Rivers with nine amateur explorers. This feminist satirical retelling of the explorers’ death-defying adventure raises urgent questions about whose histories are told, whose perspectives are left out, and how historical narratives shape contemporary understandings of belonging.

You can read and the revised version of that we will be using at these links.

Rehearsals: 

Rehearsals:

Feb. 16 – April 9: Rehearsals Monday, Wednesday, and Friday 6-10 p.m., Sunday 1-6 p.m.

Except for Spring Break (March 8 – 15: No Rehearsals)

April 11 – 18: Tech/Dress Rehearsals Daily, full day on Saturday, April 12

Performances:

Friday, April 18 at 7:30 p.m.

Saturday, April 19 at 7:30 p.m.

Sunday, April 20 at 2:00 p.m.

Wednesday, April 23 at 10:00 a.m. (Student Matinee)

Wednesday, April 23 at 7:30 p.m.

Thursday, April 24 at 7:30 p.m.

Friday, April 25 at 7:30 p.m.

Saturday, April 26 at 7:30 pm.

Sunday, April 27 at 2:00 p.m.

QUESTIONS OR ACCESSIBILITY NEEDS:

Please email the director Caitlin Kane (ckane18@kent.edu) and production stage manager Eva Clements (eclemen6@kent.edu) with any questions or requests for accommodations.

Auditions

Auditions: 
November 12 and 13 – 6:00 p.m.-10:00 p.m., Center for Performing Arts, Room D205

• Auditions are open to all �鶹ӰԺ State students
• Please prepare a 60-90 second monologue from a play written after 1850
• Monologues can be comedic or dramatic, but we recommend choosing a character you connect with whose gender identity differs from your own.
• If the monologue isn’t memorized, that is fine. Please audition anyway.
• If you are new to auditioning and do not have a monologue, please select a monologue from the play; several options can be found

1. Audition Signup: 
   Auditions will be scheduled in 3-minute slots.
   
   More slots will be added in the 9-10 p.m. hour when previous slots fill up.
    
2. Fill out and submit this audition form by Monday, November 11 at 5:00 p.m.. Please be prepared to upload a headshot and performance resume through this form.
   

Callbacks: 

November 18 – beginning at 6:00 p.m.

• Callbacks will include a movement call; please dress in comfortable clothing
• Sides (excerpts from scenes of the play) will be circulated when the callback list is announced; please review them in advance of the callback

Auditions will be held in conjunction with auditions for other spring productions, including "The Wiz" and "Trial By Fire." Directors and stage managers from all three production teams will be in present for your audition – you may audition for all three productions (presenting a monologue and song) or choose to only audition for the plays or musical (presenting either a monologue or a song accordingly).

What to Prepare: 

1. 60-90 second monologue from a play written after 1850. 
   1. Monologues can be comedic or dramatic. If you are auditioning for "Men on Boats" and "Trial By Fire," we recommend choosing a character you connect with whose gender identity differs from your own. If you are only auditioning for "Trial by Fire", feel free to prepare a monologue/character that aligns with your gender identity.
   2. If the monologue isn't memorized, that is fine, please audition anyway.
2. For "The Wiz," prepare a cut of a song that is 60 seconds or less in the style of the show. Bring sheet music in the correct key, accompanist provided. We understand all BFA MT majors are required to audition with a song. "The Wiz" will cast from the BIPOC �鶹ӰԺ State community.

A Note on Casting:

Although the characters are based on historical figures who were white men, the playwright has asked/required that only women, trans, nonbinary, and gender non-conforming performers fill the roles.

Content Disclosures:

This play is set in the 19th century and (critically /satirically) represents frontiersmen, some of whom promoted Manifest Destiny and anti-Native / anti-Indigenous ideologies, including forced assimilation. It also includes ableist language, expletives/profanity, gunshots, rattlesnakes, loud sound effects (river, rapids, waterfalls and other natural elements), alcohol consumption, smoking and vomiting.

Intimacy Disclosures:

While this play does not call for any staged intimacy, there may be moments of physical contact between performers. These moments will be choreographed around actors’ boundaries.

Character Breakdown 

All roles are open to women, trans, nonbinary, and gender non-conforming actors of any race or ethnicity with or without disabilities and who have any level of experience.

The Men on Boats:

• John Wesley Powell – leader of the expedition; a Civil War veteran and self-taught geologist who loves adventure
• William Dunn – a hunter, trapper, and innovator who wants to name everything after himself
• John Colton Sumner –a former soldier and current explorer, a risk-taker, the Bear Grylls of the 1860s
• Old Shady – John Wesley Powell’s older brother, also a Civil War veteran from Boone, WI; Detail- and task-oriented, careful, quiet
• Bradley – a young lieutenant on his first expedition, an enthusiastic chatterbox
• O.G. (Oramel) Howland – a printer and hunter who claims to have no friends; he and his brother (Seneca) lost their father in a tragic manner
• Seneca Howland – OG's quiet little brother; gets mistaken for OG’s twin; he and his brother (OG) lost their father in a tragic manner
• Frank Goodman – British (British accent required), SO excited (to be exploring the American West)
• Andrew Hall – a map maker, only nineteen years old and the youngest of the crew, but an old soul
• William Robert Hawkins – the cook, makes eggs of all styles and is in charge of inventory

The Men NOT on Boats (likely doubled with other characters) –

• Just Jim – farmer/tradesman on the ridge just out of the canyon, disarmingly calm/wry
• Johnson – farmer/tradesman on the ridge just out of the canyon, disarmingly calm/wry
• Mr. Asa – a desert Mormon settler

AUDITION REQUIREMENTS FOR BFA MUSICAL THEATRE AND MFA STUDENTS 

B.F.A. Musical Theatre candidates are required to audition for all theatre division main stage productions and accept roles if cast. Exemptions to the audition requirement may be granted under certain circumstances. Circumstances include but are not limited to religious beliefs, moral objections, psychological triggers with the play and physical concerns. In order to be exempted from the audition requirement, students must submit a written petition to the performance faculty prior to the beginning of the casting process for the production in question. The performance faculty will make a good-faith effort to deliberate and come to a decision on the petition at the first performance area meeting after the receipt of the petition. At no point will a student be asked to disclose sensitive personal information.” 

For information on all the B.F.A. Musical Theatre requirements please go to the following. /theatredance/revised-requirements-bfa-musical-theatre-program