ASB Fall Play Audition Packet

Still Life With Irisby Steven Dietz

This year, the ASB Theatre Ensemble proudly presents Still Life With Iris, a fantasy by the playwright Steven Dietz. This award-winning play, the first play for young audiences to receive the Kennedy Center’s Fund for New American Plays Award, premiered at Seattle Children’s Theatre in 1997. A fantastical adventure set in the magical land of Nocturno, Still Life With Iris delicately and beautifully explores a little girl’s search for home and family.ASB will present Still Life with Iris on November 17th, 18th, 19th, and 20th at North Seattle Community College’s STAGE I Theatre. This packet contains information about auditions, rehearsals, and the commitment required of students and their families. Please review all of the enclosed information carefully.

Auditions: Auditions are open to all 7th and 8th grade students. Please review the synopsis, enclosed sides, and character descriptions to ensure a successful audition! Student actors and technicians who commit to meeting all of the requirements outlined in the enclosed Artist’s Agreement will be given an opportunity to participate in our show. Important dates:

8th grade auditions: Wednesday, September 14th 7th grade Auditions: Thursday, September 15th

Callbacks: Friday, September 16th (ALL: 3:10 PM until 5 PM)

The cast list will be posted on Saturday, September 17th. Ms. Olsen will contact each of you via email with casting results. Please indicate that you have accepted your role prior to the start of rehearsal on Monday, September 19th.

Please see the Audition Information Sheet in this packet for specific details and audition requirements.

Rehearsals: The rehearsal period is eight weeks long. Rehearsals begin on Monday, September 22nd. Rehearsals take place after school, and they will not run past 5:00 P.M. until mandatory rehearsals begin. During our final week, rehearsal times will increase to ensure that our cast and crew are prepared for a great opening night. Please note that we will have a long rehearsal on the first day of Fall Conferences (Thursday, October 27th) from noon to 3:30 PM. (Lunch will be provided by the Drama Department for cast and crew.) Mandatory Rehearsals begin on Monday, November 7th. Please be aware that since we will not be rehearsing on Friday, November 11, Veteran’s Day, so that families can honor the holiday. Instead, we will rehearse on Sunday, November 13th, at NSCC from 3 PM to 6 PM. Load-In is on Saturday, November 12th.

Commitment: Successful productions are collective efforts that require good will, commitment, and

dedication from everyone involved. Student actors and technicians involved in the play, therefore, need to ensure that they can attend all scheduled rehearsals and performances. Please review the attached calendar for mandatory rehearsal dates and times. Actors must attend all mandatory rehearsals, or they cannot be cast in the show. Please check your family’s calendar before auditioning, and be sure that you read the Artist’s Agreement carefully before you commit to the show.

Conflict Schedule: Because we know that many of you are involved in multiple activities, we will do our best to honor anticipated conflicts. Please fill out the enclosed conflict schedule so we can do our best to accommodate your other after-school commitments (activities, music lessons, sports, etc.). Please be

sure to list all conflicts on this form. Because students are involved in many different activities, actors will be allowed to miss some scheduled rehearsals for listed conflicts until our mandatory rehearsals begin in November. Actors who miss rehearsals will be responsible for learning blocking, choreography, etc. by arranging to meet with either the stage manager and/or Ms. Olsen prior to their next scheduled rehearsal. Unfortunately, students with numerous conflicts cannot be considered for any leading or featured roles.

Casting: Effectively casting a play is rather like solving an elaborate puzzle. We, the Creative Team, need to ensure that we solve that puzzle so the play’s story, the relationships between the characters, and the message of the play are brought to life. Sometimes, actors are surprised to learn where they fit into that puzzle. We will do our very best to cast you so that each of you is matched with a role that makes you (and our production) shine! Since plays are truly collective efforts that require good will and cooperation, we ask that each of you embrace the role for which you are chosen and play it with all your might. You are ALL stars! In casting the show, we will consider how well prepared you were for your audition, how well you responded to direction, the good will and commitment demonstrated by you at the audition, and where you and your unique gifts best fit into the telling of the story of the play. Additionally, we will consider previous experience, and—of course—we must consider your availability. Together, we will make a great production happen. We are so grateful to you and your families for your time, talent, and commitment to theatre at ASB!

Julie Olsen Director

Steve Cooper Technical Director

MANDATORY REHEARSAL CALENDAR__________________________________________________________________________________

THESE DATES ARE MANDATORYFOR ALL ACTORS!

These final rehearsals are the time the entire show comes together. If you are unable to commit to these dates you may not audition for the play.

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Nov. 7 Nov. 8 Nov. 9 Nov. 10 Nov. 11 Nov. 12

ASB

Rehearsal

2:10-5:30

ASB

Rehearsal

10:00-3:00

ASB

Rehearsal

3:10-5:30

ASB

Rehearsal

3:10-5:30

Practice your role from

homeNo rehearsal

(Ms. Olsen available for rehearsal as

needed.)

Load-In at NSCC

9 AM – 3 PM (parent

volunteers and Mr. Cooper)

Nov. 13 Nov. 14 Nov. 15 Nov. 16 Nov. 17 Nov. 18 Nov. 19

NSCC

Rehearsal

3:00 – 6:00

NSCC

Rehearsal

5:00 – 9:00

NSCC

Rehearsal

5:00 – 9:00

NSCC

Rehearsal

5:00 – 9:00

NSCC

Performance

5:00 Call

7:00 Show

NSCC

Performance

5:00 Call

7:00 Show

NSCC

Performance

5:00 Call

7:00 Show

Nov. 20

NSCC

Performance

1:00 Call

3:00 Show

Strike to follow

*Please note: Friday, November 11 th is Veteran’s Day . Actors are not required to attend rehearsal today so they can honor the holiday with their families. Ms. Olsen is available to rehearse with actors who would like extra rehearsal time or additional coaching.

ACTOR CONTRACTCOPY FOR YOUR RECORDS

__________________________________________________________________________________ACTOR (STUDENT)As an Actor in Still Life With Iris, I will abide by the following terms and conditions:

1. I will share my talents and give my best effort at all rehearsals and performances.

2. I will look upon every rehearsal as a collective effort that requires my cooperation and full participation. I will work with patience, diligence, and be respectful to everyone associated with this production.

3. I will be a positive member of the cast, and I will give my all to the role I receive. I will set a positive example for others by how I rehearse and perform.

4. I will attend all scheduled rehearsals unless the director excuses me because of a reported prior conflict. I understand that all absences need to be arranged more than 48 hours in advance of the absence. I realize that more than one unexcused absence may lead to my dismissal from the cast.

5. I will attend all MANDATORY rehearsals and performances listed below:

Rehearsals – ASB Rehearsals – NSCC Performances – NSCCNov. 7 2:10-5:30 Nov. 12 3:00-6:00 Nov. 17 4:30 call / 7:00Nov. 8 3:10- 5:30 Nov. 13 5:00-9:00 Nov. 18 5:00 call / 7:00 showNov. 9 3:10-5:30 Nov. 14 5:00-9:00 Nov. 19 5:00 call / 7:00 showNov. 10 3:10-5:30 Nov. 15 5:00-9:00 Nov. 20 1:00 call / 3:00 showNov. 11 No rehearsal Actors must attend 1 hour of strike

following the final performance.

6. I understand that academic work always comes first, and I will keep up with my work in all classes. If I am currently working to improve my academic status, I will accept an ensemble role.

7. I will memorize my lines by specified due dates. I will memorize all of my stage blocking and choreography. I will contribute to the rehearsal process by making strong choices and always rehearsing at performance level.

PARENTSAs a parent of an actor in Still Life With Iris, I (we) give permission for our son/daughter to participate in the play and will abide by the following terms and conditions:

1. I (we) will fully support all of the conditions outlined in this contract.

2. I (we) will make sure my (our) child will attend all mandatory rehearsals and performances in November. I (we) understand these rehearsals are required for participation in this production.

3. I (we) will ensure that my (our) child is picked up on time after each rehearsal and performance in the playground area parking lot at ASB or designated pick up area at NSCC.

4. I (we) understand rehearsals are closed: parents are not allowed to attend rehearsals.

5. I (we) understand that if my (our) child is not ready or unable to uphold the terms of this agreement that he/she may have his/her role in the production reassigned to better accommodate his/her success in rehearsal and performance.

ACTOR CONTRACTTO BE RETURNED AT YOUR AUDITION

PRINT NAME:

_________________________________________________________ (first and last)

As an Actor in Still Life With Iris, I will abide by the following terms and conditions:

3. I will share my talents and give my best effort at all rehearsals and performances.

4. I will look upon every rehearsal as a collective effort that requires my cooperation and full participation. I will work with patience, diligence, and be respectful to everyone associated with this production.

3. I will be a positive member of the cast, and I will give my all to the role I receive. I will set a positive example for others by how I rehearse and perform.

8. I will attend all scheduled rehearsals unless the director excuses me because of a reported prior conflict. I understand that all absences need to be arranged more than 48 hours in advance of the absence. I realize that more than one unexcused absence may lead to my dismissal from the cast.

9. I will attend all MANDATORY rehearsals and performances listed below:

Rehearsals – ASB Rehearsals – NSCC Performances – NSCCNov. 7 2:10-5:30 Nov. 12 3:00-6:00 Nov. 17 4:30 call / 7:00Nov. 8 3:10- 5:30 Nov. 13 5:00-9:00 Nov. 18 5:00 call / 7:00 showNov. 9 3:10-5:30 Nov. 14 5:00-9:00 Nov. 19 5:00 call / 7:00 showNov. 10 3:10-5:30 Nov. 15 5:00-9:00 Nov. 20 1:00 call / 3:00 showNov. 11 No rehearsal Actors must attend 1 hour of strike

following the final performance.

10. I understand that academic work always comes first, and I will keep up with my work in all classes. If I am currently working to improve my academic status, I will accept an ensemble role.

11. I will memorize my lines by specified due dates. I will memorize all of my stage blocking and choreography. I will contribute to the rehearsal process by making strong choices and always rehearsing at performance level.

PARENTSAs a parent of an actor in Still Life With Iris, I (we) give permission for our son/daughter to participate in the play and will abide by the following terms and conditions:

6. I (we) will fully support all of the conditions outlined in this contract.

7. I (we) will make sure my (our) child will attend all mandatory rehearsals and performances in November. I (we) understand these rehearsals are required for participation in this production.

8. I (we) will ensure that my (our) child is picked up on time after each rehearsal and performance in the playground area parking lot at ASB or designated pick up area at NSCC.

9. I (we) understand rehearsals are closed: parents are not allowed to attend rehearsals.

10. I (we) understand that if my (our) child is not ready or unable to uphold the terms of this agreement that he/she may have his/her role in the production reassigned to better accommodate his/her success in rehearsal and performance.

I (we) have read the contract and agree to fully accept the responsibilities and will abide by all terms and conditions stated.

___________________________________________Parent’s (Guardian’s) Signature

___________________________________ ________________________________________Parent’s telephone (in case of an emergency) Parent’s email

We are asking every family with a student in the show to volunteer in some capacity. Please choose a category below where you can share your talents.

Please contact me to assist with the following areas:

___ Costumes (sewing/alterations) ___ Props (finding, borrowing, creating)

___ Costumes (fittings/organizing) ___ Ticket Sales / Ushers / Ticket Takers

___ Set Construction ___ Selling Refreshments

___ Scenic Painting ___ Cast Party

___ Stage Set-up (Nov. 7th and 8th) ___ Poster hanging in the community

___ Stage Strike / Clean-up (Nov. 15) ____ Rehearsal/Backstage supervision

____ Make-up/Wigs ____ Open to anywhere I am needed

My child’s transportation plan for rehearsals:___ I will be picking up my child___ My child has off-campus privileges, and may walk to the café, library, etc.___ My child is allowed to walk home or to a bus stop alone___ My child will carpool with any of these families: _________________________________________ _______________________________________________________________________

AUDITION FORM_________________________________________________________________________________

Name: ___________________________________________________________________________

Homeroom: ______________ Audition date: ________ Time:_________

Age: ___________ Height: _____________ Hair Color: ___________ Gender: Male / Female

Do you play a musical instrument? ____ Instrument: _____________ Years of study: ___________

Type of role I am auditioning for (check only one):

Any Role

Specific Role: _____________________(I am eager to be considered for this role, but I am open to discussing my casting.)

Ensemble Only

1. Performance Experience (list the last three shows and roles you played)

Show Role

_______________________________________ ________________________________

_______________________________________ ________________________________

_______________________________________ ________________________________

2. Describe all performing arts experience outside of ASB School (drama, music, dance, gymnastics, etc.)

and special talents you may have.

3. Please read the attached Theatrical Code of Ethics. This document describes behaviors that all

actors—professional and amateur—exhibit. Choose 3 that you think are most important to you and

briefly explain why these behaviors are crucial for success. Next, briefly describe how will you believe

you can contribute to making the rehearsal process positive and productive.

1.

2.

3.

What will you do to make our rehearsal process positive and productive?

__________________________________________________________________________________

(The following is based on the Educational Theatre Association’s Rubric for Evaluation)

DO NOT WRITE BELOW THIS LINE … FOR DIRECTOR’S USE ONLYVocally

expressiveCharacter choices

Physically Expressive

Preparation and

Deportment

Roles

CONFLICT SCHEDULE_________________________________________________

Please fill out completely

Actor’s Name:

_______________________________________________________________

Please fill out the conflict schedule below with all the days and times you are not available for rehearsal. Also note your flexibility for weekly conflicts. You will be excused from any rehearsals that conflict with the schedule below until our Mandatory rehearsals beginning November 7th.

Regular Weekly Conflicts

Reason Not Available

Time Restrictio

nTime Restriction Flexible

Mondays Soccer X Leave at 4:30 (ends April 30) Yes

Wednesdays Piano Lessons X 3:00-4:00 (will come late) No

MondaysTuesdays

Wednesdays

Thursdays

Fridays

Other Conflicts

Dates Reason Not Available

Time Restriction

Time I Need toLeave Rehearsal

Sept. 1-3 Family Vacation X

Oct. 8 and 23 Orthodontist Appointment X Will arrive at 3:30

Other Possible Conflicts (unsure of exact dates)

Reason How Often Time Restriction Flexible

Soccer Twice a week Need to leave ½ hour early Yes

November 7th – 20th all scheduled rehearsals and performances are mandatory!

AUDITION INFORMATION

Scheduling an Audition

Audition appointments are scheduled on Wednesday, September 14 th and Thursday, September 15th. Each session is divided into ten-minute individual audition slots; your child will sign up for a ten-minute time slot for his/her audition. Once the group has finished their auditions they will be walked out to the playground for pick-up.

Wednesday, September 14th Eighth Grade Auditions (Seventh Grade as needed) – Drama RoomGroup A 3:10 – 4:00Group B 4:10 – 5:00Group C 5:00 – 6:00

Thursday, September 15th Seventh Grade Auditions (Eighth Grade as needed) – Drama RoomGroup A 3:10 – 4:00Group B 4:10 – 5:00Group C 5:00 – 6:00

Please schedule your audition by responding to the invitation you’ll receive via SignUp Genius. You can also send an email to jolsen@asbschool.org.

Forms - To be returned at the beginning of your auditionContract: This is a binding agreement so be sure you understand the requirements to be cast in the show.

Audition Form: This gives the directors some basic information about your individual performance experience and talents. Please fill this out completely!

Conflict Schedule: This lists all dates and times you are unable to attend rehearsal due to other activities. Be sure to list all conflicts that happen before 5:00.

What to prepare for your audition: Enclosed, you will find a synopsis of the show, character synopses, and actor’s sides. Instead of preparing a monologue for your audition, you will be preparing the enclosed sides. After reading the character and plot synopses, select a side(s) that most appeal to you. You may audition for more than 1 character.

If you play an instrument, please be sure to note that on your audition form.

1. Please prepare 2 contrasting sides. (For example, you can prepare Gretta Good and Annabel Lee if you wish to demonstrate versatility!) The sides do not have to be memorized, but they should be prepared thoroughly so that we can see evidence of vocal and physical character choices, movement choices, emotional connection with the character, and vocal and physical expressivity. We are also very eager to see how effectively you interact with other actors onstage, so be sure to interact with the reader.

2. After you show us what you have prepared, you will be asked to make an adjustment. We are eager to see how you respond to suggestions and ideas! Please plan to work on the notes you are given at initial auditions to prepare for Callbacks.

3. At Callbacks, we are eager to see evidence of growth and thoughtfulness, honest interaction with other actors, and evidence of strong listening and ensemble skills. We are also eager to see evidence of your perspective as you begin to empathize with the characters’ lived experiences. As a theatre ensemble, we acknowledge that the good work of all actors is crucial to the success of our production.

4. Copies of the script are available for perusal. Please see Ms. Olsen to check out a script.

Call BacksAll actors are required to attend callbacks on Friday, September 16th from 3:10 – 5:00 in the Drama Room.

Cast List PostedThe cast list will be posted on the Actor’s Resource page under Academics/Drama on the ASB school website after actors have accepted their roles. A copy will also be given to each homeroom teacher to post in the classroom, and an additional copy will be posted on the Drama Room door.

First RehearsalAll actors must attend our first rehearsal on Monday, September 19th after school in the Drama Room from 2:10 – 4:00pm. We will read through the script and go over the rehearsal guidelines.

SYNOPSIS OF THE PLAY

Still Life With Iris is the first play for young audiences to receive the Kennedy Center's Fund for New American Plays Award. Still Life with Iris is a fantastical adventure which centers on a little girl's search for the simplest of things: home. Iris lives with her mom in the land of Nocturno—a magical place in which the workers make, by night, all of the things we see in the world by day. Also, in Nocturno, memories do not reside in people's minds but instead are kept in their coats (called 'Past Coats'). The rulers of Nocturno, the Great Goods, are determined to have the "best" of everything on their island—and therefore take Iris away from her home and bring her to Great Island to be their daughter. To ease the pain of this separation, they remove her Past Coat, leaving her with no memory of her home or her family. All that remains of Iris' past is a single button from her coat. Using the button as a clue, Iris joins with friends she meets on her journey—Annabel Lee (a young woman from the sea) and Mozart (the composer, age 11)—and frees herself from the Great Goods. She returns to Nocturno, having found her past, and her home.

About the playwright:

Steven Dietz is an American playwright whose work is largely performed regionally, i.e. outside of New York City. Born and raised in Denver, Colorado, Mr. Dietz graduated in 1980 with a Theater degree from the University of Northern Colorado. He is the recipient of the PEN U.S.A. Award in Drama (for Lonely Planet); the Kennedy Center Fund for New American Plays Award (Fiction and Still Life With Iris); and the Lila Wallace/Reader's Digest Award (The Rememberer). 

CAST LISTIRIS- A young girl, brave and precocious, quirky, fun, and fearless in that way only kids can be. The Great Goods decide she is the BEST girl so she is taken to their island where she begins her great adventure to find home.

MOM/ MISS OVERLOOK - Iris' mother. Warm and loving, a great mom. Her memory is taken away from her when her past coat is stolen. She then becomes MISS OVERLOOK and is forced to work for The Great Goods on Great Island.

MISTER MATTERNOT - A mysterious man sent to capture Iris and take her to the Island of The Great Goods. Conflicted about the work he does for the Great Goods, he looks after Iris.

LEAF MONITOR- No-nonsense mother of Hazel and Elmer.

HAZEL - Elmer's sister and Iris' classmate.

ELMER - Hazel's brother and Iris' classmate.

FLOWER PAINTER - responsible for giving all the flowers of our world color. 

MEMORY MENDER - Stern but quietly caring man in charge of maintaining the past coats for the residents of Nocturno

ANNABEL LEE - half pirate half sea, ANNABEL LEE is a girl, not much older than Iris, who is in search of her ship. She joins forces with Iris to find home.

GRETTA GOOD - a comically snobbish and elitist woman, greedy and obsessed with acquiring the “best one” of everything.

GROTTO GOOD - Gretta's other half in every way. Nervous, uncertain, but—like his wife—comically snobbish and elitist, greedy and obsessed with acquiring the “best one” of everything.

MOZART – the famed composer, a child of eleven, smart, dedicated, but more open about his fears than the other children. Mozart teams up with Iris and Annabel Lee. Piano skills a plus!

MISTER OTHERGUY - a memory-free henchmen who for Gretta and Grotto Good.

MISTER HiMTOO - a memory-free henchmen who for Gretta and Grotto Good.

CAPTAIN ALSO - A Leader of the Revolution, an occupant of the Tunnel of Discarded Things

HEAD THUNDER BOTTLER- a storm curator in Nocturno/ A Leader of the Revolution, an occupant of the Tunnel of Discarded Things

THIRD STRING - A Revolutionary, an occupant of the Tunnel of Discarded Things

UNDER-THUNDER BOTTLER - a storm curator in Nocturno/ A Revolutionary, an occupant of the Tunnel of Discarded Things

RAY- A wounded soldier and Revolutionary

BOLT BENDER – a thunderbolt craftsman in Nocturno

RAINMAKER – Raindrop Artist and Curator in Nocturno

*Residents of Nocturno are the workers and residents of the Tunnel on the Island of the Great Goods

SIDE 1

MEMORY MENDERUse for RAIN MAKER / FLOWER PAINTER / THUNDER BOTTLER / BOLT BENDER

Iris, where do the Great Goods live? And, Elmer, how deep is the water that surrounds Great Island? You knew it when I asked you last week. Let me see your coat. See there. A little rip in your coat, and your memory is harmed. It makes me crazy. You’ve got to take care of your coat because your coat holds your past. Every stitch, every pocket, every button, every sleeve—it’s your whole life in there! Just think you can go out and get a past like you can get a glass of milk?! Think again. And one thing more: the Fog Lifter is retiring today. After all these years, she can still set the fog down in the morning—but she just can’t lift it anymore. She’d like you to take her place, Iris.

(During initial auditions, you may audition with another actor, or a designated reader will read the other roles.)

MEMORY MENDER: Iris?

IRIS: How do you know my name?

MEMORY MENDER: Well, Iris, where we—where I come from, our memories are—

GROTTO GOOD: Tricks! Tricks, and nothing more!

MEMORY MENDER: Well—as they say—the mind can be mistaken. If one’s memory is harmed—or lost—or taken—

GROTTO GOOD: You’ve said enough.

IRIS: I’m looking for a girl who had a coat like yours. And she lost this button. Do you know where I might find her?

MEMORY MENDER: I know the girl of whom you speak. I made her this button myself.

IRIS: You did?

MEMORY MENDER: But…I don’t know where she is now. She should be very nearby…but I’m afraid that that girl—as I knew her—is gone. I will tell you this, though: if you find her coat…you will find her.

SIDE 2

MR. MATTERNOTUSE FOR MR. MATTERNOT, MR. OTHERGUY

MR MATTERNOT: Listen to me. This is what’s done. I don’t like it, but it’s what the Great Goods desire and therefor it must be done. Believe me, it’s better to let me have your coat. If you keep it, you will be haunted by your past. You will think of your mother all the time. You will think of your home and your friends and your life here—and you will never stop missing it. It will be an ache that will never vanish from your heart. Now, please…

(During initial auditions, consider partnering with another actor who will read Miss Overlook OR a designated reader will read the role of Miss Overlook.)

MR. MATTERNOT: You’re an excellent worker, Miss Overlook. The Goods are pleased with you.

MISS OVERLOOK: I’ve never even met them.

MR. MATTERNOT: That is a sign of their satisfaction. Have a great good evening.

MISS OVERLOOK: Mr. Matternot—

MR. MATTERNOT: I have work of my own to do, excuse me—

MISS OVERLOOK: You once told me that that I’d always lived here and always done this work. Is that true?

MR. MATTERNOT: That is the word of the Goods.

MISS OVERLOOK: I’m not asking the Goods. I’m asking you. Have I truly spent my life in this dark, musty room? Have I never seen the sky, never felt the wind?

MR. MATTERNOT: What sky are you speaking of? What wind do you remember?

MISS OVERLOOK: None. None at all.

SIDE 3

Mom/Miss OverlookUSE FOR MISS OVERLOOK, LEAF MONITOR

MOM: I wish I knew. On the night of the Great Eclipse he went in search of the moon—but it was so dark, Iris. I’ afraid he lost his way and was captured by that black night. I stood at the door, waiting for him—but all that arrived was the wind…moving through the house, not making a sound. Your dad was gone. Every night he roped the moon. And he pulled I down out of the sky. Then he’d give the signal to raise the sun into place. That was his job. He was the Day Breaker.

(During initial auditions, a designated reader will read the roles of Beth and Father.)

(During initial auditions, consider partnering with another actor who will read Miss Overlook OR a designated reader will read the role of Mr. Matternot.)

MR. MATTERNOT: You’re an excellent worker, Miss Overlook. The Goods are pleased with you.

MISS OVERLOOK: I’ve never even met them.

MR. MATTERNOT: That is a sign of their satisfaction. Have a great good evening.

MISS OVERLOOK: Mr. Matternot—

MR. MATTERNOT: I have work of my own to do, excuse me—

MISS OVERLOOK: You once told me that that I’d always lived here and always done this work. Is that true?

MR. MATTERNOT: That is the word of the Goods.

MISS OVERLOOK: I’m not asking the Goods. I’m asking you. Have I truly spent my life in this dark, musty room? Have I never seen the sky, never felt the wind?

MR. MATTERNOT: What sky are you speaking of? What wind do you remember?

MISS OVERLOOK: None. None at all.

SIDE 4MOZART

USE FOR MOZART, RAY, CAPTAIN ALSO, AND THIRD STRING

MOZART: Guten Tag! Bonjour! Good day! Or night! Why is it night? How long has it been night? And how close are we to morning? It’s crucial that I find out. Can you tell me?! Oh, yes! Where are my manners? I must have left them in Vienna where manners seem to be all that matters. I am Mozart. Wolfgang Amadeus Mozart. But you can call me Motes. I prefer that.

(During initial auditions, consider partnering with another actor who will read Annabel Lee OR a designated reader will read the role of Annabel Lee.)

ANNABEL LEE: Isn’t it a beautiful beach?

MOZART: Yes, but why must it be so close to the water?

ANNABEL LEE: I’m Annabel Lee.

MOZART: Are you a pirate?

ANNABEL LEE: No, but my mother was.

MOZART: Your mother was?

ANNABEL LEE: And my father was the sea.

MOZART: And I thought my family was strange.

ANNABEL LEE: Why must you know when the night ends?

MOZART: I’ve been searching for something. Something that’s just out of reach.It’s a song I work on at night. Only at night. (Hums “Eine Kleine Nachtmusik”, but can’t find the last note) But that’s it. I can’t seem to finish it, because when the sun rises, the melody vanishes. If only I could stop time—if only I could find a way to make the sun wait a few more seconds before rising—I think the song would come to me.

SIDE 5ANNABEL LEE

USE FOR ANNABEL LEE, HAZEL, AND ELMER

ANNABEL LEE: Now, fall in. The ship waits—trapped in fog—at the far end of the Tunnel. There are sails to ready, rigging to ready, and provisions to load.Are you able, willing, and sufficiently brave—To conquer the sea and make fear your slave?I was looking for parts of your picture—the table, the flower, the vase. So I kept following the Tunnel, on and on. And I saw something shining in the distance—a shimmering patch of light—and when I reached it—I found vases. Hundreds of them. Discarded in a huge pile. And there the tunnel empties into a cove, shrouded in fog. And there was my ship, waiting for me.

(During initial auditions, consider partnering with another actor who will read Annabel Lee OR a designated reader will read the role of Iris.)

IRIS: Hello? Can you tell me where I am? Helloooo?

ANNABEL LEE: HELLLOOOO!

IRIS: Where am IIIIII?

ANNABEL LEE: WHERE AM IIIIIII?

IRIS: IIIII!

ANNABEL LEE: IIIII!

IRIS: IIIIII’m Iris!

ANNABEL LEE: IIIII’m Annabel Lee!

IRIS: Who’s there?

ANNABEL LEE: An echo waiting to be free!

IRIS: Can you help me get away from here? I’m lost.

ANNABEL LEE: Yes, we both seem to be.

IRIS: How did you get here?

ANNABEL LEE: By your wishing, I assume. What else would it be?

IRIS: I wished for someone to play with. And I wished for someone to help me get across this water.

ANNABEL LEE: C’mon Iris. Your wishes will be our vessel. And with courage and faith as our captain and mate, the ship I’ve lost and the room you seek may fall into our lap.

SIDE 6GROTTO AND GRETTA GOOD

(The Goods are inseparable, and tend to finish or complement one another’s thoughts. The are vain and foolish and disinclined toward speechifying.) (During initial auditions, consider partnering with another actor who will read Gretta or Grotto OR a designated reader will read the roles for which you are not auditioning.)

GROTTO GOOD: But my fear is this, that I will handle it badly. I fear I don’t know how to maintain a little girl. What do they do? What do they eat? And what will I do if she says something to me?

MR. OTHERGUY: I’m sure you’ll handle it well, Master Good.

GRETTA GOOD: I must tell you, a terrifying thing jus happened to me.

GROTTO GOOD: What is it, my dear?

GRETTA GOOD: I found a second earring. It was just lying there, next to this one.

GROTTO GOOD: What did you do?

GRETTA GOOD: I threw it away, instantly.

GROTTO GOOD: Oh, thank good.

GRETTA GOOD: It set me back, I must tell you. A shock like that.

GROTTO GOOD: Don’t think of it again. Now, Gretta dear, I’ve been assured by Mister Otherguy that I needn’t be nervous about meeting a little girl.

GRETTA GOOD: We’ll be fine, Grotto dear. We’ve chosen the best of the best!

GROTTO GOOD: But what do they do—these children? That’s all I’d like to know. And what if she says something to me? Oh, my good!

IRIS: Hello! I’m Iris. What an odd place this is!

GROTTO GOOD: You are a girl.

IRIS: Yes.

GROTTO GOOD: And now you are here.

IRIS: Yes, I am.

GROTTO GOOD: And I am speaking to you. And now I am finished. Gretta?

GRETTA GOOD: You must forgive my husband. He’s never spoken to a little girl before. You are the first to arrive on Great Island. But you are welcome here, Iris. More than welcome, you are treasured. You will now be the greatest of our goods!

SIDE 7IRIS

IRIS: Tell me things. Please. Tell me things that happened when I was little. Because I don’t remember. I want you to tell me about when I was a baby. Please? Tell me anything—even if it’s little. Tell me what my first word was. Or what my favorite toy was. Or what games we used to play. Did we used to be happy? If we were, please tell me. What did that feel like?

IRIS: Are you curious, or lost? It’s better to be curious than lost, don’t you think? Which are you?

MAN: I’m new.

IRIS: Yes, I know. I can tell by your coat. Why have you come?

MAN: I’m looking for someone.

IRIS: Well, at this time of night, everyone’s at work.

MAN: Doing what?

IRIS: You name it. Whatever you see in the world by day, it’s made here at night. Like that fly on your nose—that fly was assembled right here in Nocturno. We crank those out by the millions and teach every one of them to fly. Plus: no two are the same. Our bug sculptors are very proud of that.

MAN: Just like snowflakes, then—no two alike?

IRIS: Actually—and this is privileged information, the snowflakes are made in pairs. But we load them into clouds bound for different locations. Don’t spread that around.

*******************************

IRIS: Sometimes I get mad at him, Mom. Sometimes I wish I could find him and make him tell me why he left. I’ve waited so long for him to come home.

MR. MATTERNOT: Your waiting is over, Iris. You’ve been selected.

IRIS: Mom—

MR. MATTERNOT: You needn’t call for your mother. You needn’t think of your father anymore.

IRIS: What are you doing here? You were lost. You were looking for someone—

MR. MATTERNOT: And I’ve found her.

Code of Ethics

Part of the great tradition of the theatre is code of ethics that belongs to every worker on the legitimate stage. This code is about CRAFTSMANSHIP, DEDICATION and RESPECT. The self-discipline outlined in this code increases personal esteem and dignity through CO-OPERATION and COMMON PURPOSE.

The show must go on! I will never miss a performance!

I shall play every performance to the best of my ability.

I will respect my audience.

I will always be on time to rehearsal.

I will never leave the theatre building until the performance is completed.

I will not appear in costume or make-up outside the theatre.

I will never change my performance because of things other people say about it.

I will accept the director’s advice because the director sees the whole picture.

I will look upon every play as a collective effort that requires my cooperation.

I will be patient.

I will speak respectfully.

I will never blame other people for my own mistakes.

I will not criticize other actors.

I will not tell other actors how to play their parts.

I will set a good example with my own performance.

I will handle only my own props. I will handle my props with care.

I will abide by the rules of the theatre in which I am performing.

I shall never lose my enthusiasm for the theatre because of disappointment or failure, for these are the lessons by which I learn.

I will ensure through word and deed that the theatre becomes greater because I worked there.

As a cast member of the cast of Still Life With Iris, I agree to uphold these professional ethics.Signed, _________________________________________