Auditions
One-Act Festival
To view the Cast List Click Here
The one-acts are short stage plays, not musicals.
Rehearsals will begin in early March. Performances will be April 25 and 26. There will be 3 performances at the 1912 Center in the Lecompte Auditorium.
Auditions are open to ages 12 – Adult (Ages 13 and under, please see Important Note for Parents below.)** All roles are open. No prior theatrical or APOD experience is required to audition.
Audition Instructions:
Auditions will be Tuesday, February 18, 7-9pm. 1912 Center. (Sign up below!) Plan to stay for the entire time.
Read through the scenes that are posted below (All scenes are now posted). You don’t need to memorize them but be familiar with them.
Please fill out our online Audition Form by February 17.
Please sign up so that we know how many people to expect and can get a bigger space if needed.
Sign up to audition HERE
Questions? Please contact us!
Character Breakdown by show:
One Acts
The Proposal
By Anton Chekov
(This play takes place in Russia around 1890)
CHARACTERS
STEPAN STEPANOVITCH CHUBUKOV, a landowner, mid-forties or older
NATALYA STEPANOVNA, his daughter, mid-twenties
IVAN VASSILEVITCH LOMOV, a neighbour of Chubukov, mid-twenties or mid thirties
Box and Cox
By John Maddison Morton
CHARACTERS
JOHN BOX, a Journeyman Printer, 30s or older
JAMES COX, a Journeyman Hatter, 30s or older
MRS. BOUNCER, their landlady, age flexible
This is a Test
By Stephen Gregg
CHARACTERS
(All characters can be either male or female with a slight alteration to their name.)
Alan – a high school student
Lois – his friend
Teacher
Evan – another student
Chris – another student
Pat – another student
Chorus – Alan’s imagination and emotions
Other Students
Voice – the voice of the test
The Step Mother
By Arnold Bennett
CHARACTERS
CORA PROUT, a Popular Novelist and a Widow, 30+
ADRIAN PROUT, her Stepson, 20
THOMAS GARDNER, a Doctor, 35+
CHRISTINE FEVERSHAM, Mrs. Prout’s Secretary, 20
**Important Note for Parents:
We take our mainstage productions very seriously. Thousands of hours go into bringing these shows to the community. It is an amazing opportunity for a child to be involved in a production of this caliber, but also a huge responsibility for the parents.
Children ages 8-12 must be accompanied by a parent at ALL times. This includes auditions, rehearsals, works days, and performances. In addition to being responsible for your child, please also note that young children cannot do this on their own. It will require a parent to be focused during rehearsals, taking notes, and helping their child learn their lines, music, and choreography at home.
Ages 13 to 15 – A parent must attend some rehearsals and be involved with the show either onstage or through volunteer work.
If you are interested in more of a drop-the-kids-off opportunity, please look into our theatre classes & workshops
Box and Cox
Cox. Who are you, sir?
Box. If you come to that—who are you?
Cox. What do you want here, sir?
Box. If you come to that—what do you want?
Cox. [Aside.] It’s the printer! [Puts tea-things on the drawers.
Box. [Aside.] It’s the hatter! [Puts tea-things on table.
Cox. Go to your attic, sir—
Box. My attic, sir? Your attic, sir!
Cox. Printer, I shall do you a frightful injury, if you don’t instantly leave my apartment.
Box. Your apartment? You mean my apartment, you contemptible hatter, you!
Cox. Your apartment? Ha! ha!—come, I like that! Look here, sir—[Produces a paper out of his pocket.] Mrs. Bouncer’s receipt for the last week’s rent, sir—
Box. [Produces a paper, and holds it close to Cox’s face.] Ditto, sir!
Cox. [Suddenly shouting.] Thieves!
Box. Murder!
Both. Mrs. Bouncer! [Each runs to door, L. C., calling.
MRS. BOUNCER runs in at door, L. C.
Mrs. B. What is the matter? [Cox and Box seize Mrs. Bouncer by the arm, and drag her forward.
Box. Instantly remove that hatter!
Cox. Immediately turn out that printer!
Mrs. B. Well—but, gentlemen—
Cox. Explain! [Pulling her round to him.
Box. Explain! [Pulling her round to him.] Whose room is this?
Cox. Yes, woman—whose room is this?
Box. Doesn’t it belong to me?
Mrs. B. No!
Cox. There! You hear, sir—it belongs to me!
Mrs. B. No—it belongs to both of you! [Sobbing.
Cox & Box. Both of us?
Mrs. B. Oh, dear gentlemen, don’t be angry—but, you see, this gentleman—[Pointing to Box,]—only being at home in the daytime, and that gentleman—[Pointing to Cox,]—at night, I thought I might venture, until my little back second floor room was ready—
Cox & Box. [Eagerly.] When will your little back second floor room be ready?
Mrs. B. Why, to-morrow—
Cox. I’ll take it!
Box. So will I!
Mrs. B. Excuse me—but if you both take it, you may just as well stop where you are.
Cox & Box. True.
Cox. I spoke first, sir—
Box. With all my heart, sir. The little back second floor room is yours, sir—now, go—
Cox. Go? Pooh—pooh!
Mrs. B. Now don’t quarrel, gentlemen. You see, there used to be a partition here—
Cox & Box. Then put it up!
Mrs. B. Nay, I’ll see if I can’t get the other room ready this very day. Now do keep
your tempers. [Exit, L.
Cox. What a disgusting position! [Walking rapidly round stage.
Box. [Sitting down on chair, at one side of table, and following Cox’s movements.] Will you allow me to observe, if you have not had any exercise to-day, you’d better go out and take it.
Cox. I shall not do anything of the sort, sir. [Seating himself at the table opposite Box.
Box. Very well, sir.
Cox. Very well, sir! However, don’t let me prevent you from going out.
Box. Don’t flatter yourself, sir.
The Stepmother
GARDNER: Oh, good morning, Miss Feversham.
CHRISTINE: Good morning, Dr. Gardner. You seem surprised to see me here. Yet I am to be found in this chair daily at this hour.
GARDNER: Not at all, not at all. I assure you I fully expected to find both you and the chair. I also expected to find Mrs. Prout.
CHRISTINE: Are you capable of interrupting our literary labours? We do not receive callers so early, Dr. Gardner. Which reminds me that I have several times remarked that this study ought not to have a door opening into the corridor.
GARDNER: As for that, may I venture to offer the excuse that I had an appointment with Mrs. Prout?
CHRISTINE: At what hour? She never makes appointments before noon.
GARDNER: I believe she did say twelve o’clock.
CHRISTINE: [looking at her watch] And it is now twenty-five minutes to ten. Punctuality is a virtue. You may be said to have raised it to the dignity of a fine art.
GARDNER: I will wait [sits down]. I trust I do not interrupt?
CHRISTINE: Yes, Doctor, I regret to say that you do. I was about to commence the composition of an article.
GARDNER: Upon what?
CHRISTINE: Upon “Hysteria in Lady Novelists.” It is my specialty.
GARDNER: Surely lady novelists are not hysterical.
CHRISTINE: The increase of hysteria among that class of persons is one of the saddest features of the age.
GARDNER: Dear me! [enthusiastically] But I can tell you the name of one lady novelist who isn’t hysterical–and that, perhaps, the greatest name of all–Mrs. Prout.
CHRISTINE: Of course not, of course not, Doctor. Nevertheless, Mrs. Prout is somewhat indisposed this morning.
GARDNER: Cora–ill! What is it? Nothing serious?
The Proposal
NATALYA STEPANOVNA. There’s some demon of contradiction in you to-day, Ivan Vassilevitch. First you pretend that the Meadows are yours; now, that Guess is better than Squeezer. I don’t like people who don’t say what they mean, because you know perfectly well that Squeezer is a hundred times better than your silly Guess. Why do you want to say it isn’t?
LOMOV. I see, Natalya Stepanovna, that you consider me either blind or a fool. You must realize that Squeezer is overshot!
NATALYA STEPANOVNA. It’s not true.
LOMOV. He is!
NATALYA STEPANOVNA. It’s not true!
LOMOV. Why shout, madam?
NATALYA STEPANOVNA. Why talk rot? It’s awful! It’s time your Guess was shot, and you compare him with Squeezer!
LOMOV. Excuse me; I cannot continue this discussion: my heart is palpitating.
NATALYA STEPANOVNA. I’ve noticed that those hunters argue most who know least.
LOMOV. Madam, please be silent…. My heart is going to pieces…. [Shouts] Shut up!
NATALYA STEPANOVNA. I shan’t shut up until you acknowledge that Squeezer is a hundred times better than your Guess!
LOMOV. A hundred times worse! Be hanged to your Squeezer! His head… eyes… shoulder…
NATALYA STEPANOVNA. There’s no need to hang your silly Guess; he’s half-dead already!
LOMOV. [Weeps] Shut up! My heart’s bursting!
NATALYA STEPANOVNA. I shan’t shut up.
This is a Test
