What we are looking for in your audition:
As directors, we have been asked to share information pertaining to the process of presenting a great audition. At the Palace Playhouse we look for four main items as we hold auditions for each theatre productions.
PRESENTATION: As each person presents him/herself on stage, the first 10 seconds
tells the most about the type of performer we are about to watch. We look for eye
contact, projection and enunciation while introducing him/herself and selections to
be presented. We look for stage presence, such as standing tall on both feet, eyes
engaged, confidence, and grooming.
MATERIAL SELECTION: Choosing a great song for each audition is key. It is best to
sing material that is similar in tone, mood, and personality to the musical for which
you will audition. For example, at the auditions for Newsies we heard great choices
from Matilda, Annie, and Junie B. Jones, which were more fitting than Gershwin
ballads or church songs.
ABILITY: Musical selections are required to have accompaniment. This shows
ability to match pitch, rhythm, and if the singer can produce volume. Monologues
give us the opportunity to see contrast in style and character of the one who
ROLE PLACEMENT: Even when all the above have been met or have even excelled,
we still must look at the needs of the production. Considerations are made as to
how many to cast and costume, and how varying ages, sizes and shapes can be
utilized to fit the needs of the show.
There are many variables to consider when casting each production. Hours are spent going over the applications checking rehearsal conflicts and reviewing impressions from the audition. It is wonderful to watch children, teens, and adults participate. We are always grateful to each and every one from our talented community who choose to audition for a production at the Palace Playhouse.
What you should have prepared before you come to auditions:
Come prepared to sing 16-32 measures from a Broadway musical similar to the scheduled production. All audition songs are expected to be memorized. Do not plan to sing an entire verse, only 32 measures are needed. Lengthy music introductions should be eliminated.
Musical selection should reveal character, personality, vocal quality and range.
Musical auditions must be accompanied. A cappella auditions will not be accepted. Accompaniment can be live, keyboard, or electronic. An accompanist will be available if needed, but it is always wise (if possible) to bring your own. If you use electronic accompaniment, please eliminate lengthy introductions.
A short 30-second memorized monologue is recommended. A monologue is not a poem. It is a memorized selection spoken by a character from a musical or play, performed to reveal the character’s intent.
Please supply a personal resume. If you do not have a completed resume, use the following link: AUDITION FORM, to print and fill out with your personal information to be submitted at the time of your audition at the Palace.
Date you know you have conflicts for both the rehearsal process and shows.
2023 Season Upcoming Auditions
School of Rock
Based on the Paramount movie by Mike White
Book by Julian Fellowes
Lyrics by Glenn Slater
New Music by Andrew Lloyd Webber
Director - Sherri Dienstfrey
Music Director - John Grayson
Choreographers - Jenna Davies
Show Dates: June 8th - July 1st
Audition Dates: March 14th and 15th
Callbacks - TBD
Rehearsals begin: April 1
If you would like to send a video audition please send it to email@example.com.
Accompanist, Aux, and iPhone hook-up will be available. All roles are available. Callbacks and dance auditions will by invitation only.
Please prepare 16-32 bars of music in a similar style of the show.
Please prepare a 30-60 second comedic monologue.
If you're able to play an instrument, please bring to audition.
All roles are available. 12 years old is the minimum age. Limited roles.
ABOUT THE SHOW
Rock got no reason, rock got no rhyme…You better get me to school on time!
Andrew Lloyd Webber's School of Rock - The Musical is a two-hour, two-act show (plus intermission), based on the hit movie. The tuner follows Dewey Finn, a failed, wannabe rock star who decides to earn an extra bit of cash by posing as a substitute teacher at a prestigious prep school. There he turns a class of straight–A pupils into a guitar-shredding, bass-slapping, mind-blowing rock band. But can he get them to the Battle of the Bands without their parents and the school’s headmistress finding out?
Dewey Finn - Rock Tenor (B2-A5)
Rosalie Mullins - Soprano (A3-D6)
Ned Schneebly - Baritone (C3-F#4)
Patty Di Marco - Mezzo-Soprano (B3-E5)
Summer Hathaway - Range: A3-D5
Tomika - Range: A3-G5
Zack Mooneyham (guitar) - Range: A3-D5
Freddie Hamilton (drums) - Range: A3-D5
Katie (bass) - Range: A3-D#5
Lawrence (piano / keyboard) - Range: A3-D#5
Marcy - Range: A3-G5
Shonelle - Range: A3-G5
Billy Sandford - Range: A3-D5
Sophie - Range: A3-D5
Mason Ward - Range: A3-D5
James - Range: A3-D5
Madison - Range: A3-D5
Jeff Sanderson – Manager of Battle of the Bands
Theo (No Vacancy) - Range: D3-D5
Doug (No Vacancy) - Range: G3-G4
Bob (No Vacancy) - Range: G3-D5
Snake (No Vacancy) - Range: G3-G4
Security Guard 1
Security Guard 2
Note: Teachers, parents and other characters may be doubled as they were on Broadway.