ALEXANDRIA AREA HIGH SCHOOL THEATRE DEPARTMENT

SPRING MUSICAL 2016

Monty Python’s SPAMALOT, by Idle and Du Prez ARTISTIC TEAM Jessica Chipman, Director Kayla Noble, Assistant Director Raymond Noble, Assistant Director Anna Peterson, Choreographer Jay Chipman, Set Designer Deb Long, Costume Designer AUDITION TIMES

Open to all students in grades 9‐12. Students are only required to attend one audition session.

Auditions will be held in the AAHS PAC.

Thursday, January 7 6:00‐9:00pm Saturday, January 9 1:00‐4:00pm CALLBACKS (if needed)

Saturday, January 10 1:00‐4:00pm CREW

If you are interested in being on crew only, please fill out the form on pages 20‐21 and return to Mrs. Chipman. PIT ORCHESTRA

If you are interested in being in the pit orchestra only, please contact Raymond Noble at rjnoble89@gmail.com Monty Python’s SPAMALOT

A synopsis is available here: http://stageagent.com/shows/musical/1638/spamalot

REHEARSAL SCHEDULE / DATES Rehearsal: February 15‐April 21 Times: Weekdays (with the exception of Wednesdays), 6:00‐9:00. Two orthree Saturdays will be used during the rehearsal period. Not all cast members will be called for every rehearsal. Once the show is cast, you will be made

aware of the specific rehearsals you will be asked to attend. The schedule will be given to you

with plenty of time for you to make arrangements to be at rehearsal.

Performances: April 22‐24, 2016

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CREW TIMES

Wednesdays, 3:30‐5:30. SET CONSTRUCTION TIMES

Saturdays, as needed. Cast and crew members can serve on construction crew, as well as non‐cast and crew members. Cast members will be called for at least one Saturday construction date. STAGE MANAGER

We are seeking a dynamic, competent, knowledgeable individual to serve as our student stage manager. This is a student leadership role with a lot of responsibility. Interviews will be conducted for the stage manager. Please see the crew sheet for further information. AUDITION SPECIFICS

Please bring the following to your audition: Yourself (wear moveable clothing) A pencil A bottle of water Your completed audition form (see below) Your audition will consist of three parts:

1. Vocal audition: this is a pre‐selected song (see below). We will sing through the song in a group and then you will sing individually.

2. Dance audition: this is a series of eight‐counts from the song “Finland” that will be taught to you by our choreographer at the audition. You will learn this in groups and then perform in groups.

3. Dialogue audition: there are pre‐selected audition sides (see below). You will have a few minutes to rehearse the side with someone at your audition, and then you will perform the scene together.

FREQUENTLY ASKED QUESTIONS

1. Will you keep in all the jokes and other material in the script? No. The script provides

alternate material for jokes that are not appropriate for our student actors and/or our

audience.

2. How many students will you cast? This is always dependent upon our auditionees, but

we hope to have a medium‐sized cast.

3. This show doesn’t appear to have many roles for females. Should I still audition? Yes! Good news: the script allows for flexibility in casting and offers suggestions for more

females to be cast. We hope to cast many females.

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4. Will you cast one student only for the original Broadway tracks? For example, will one student play the roles of GALAHAD, PRINCE HERBERT’S FATHER, and THE BLACK KNIGHT? This depends on the auditions and the manner in which the script is written.

We will take this on a case‐by‐case basis.

5. Will we be using dialect in this show? If so, should I use dialect for my audition? Yes, we

will be using both Standard British and Cockney dialects. Your audition is up to you. Be

warned it would not be in your best interest to attempt a dialect and then bomb.

However, if you feel confident in your dialect, go for it. Know that dialect is not required

for your audition, but will be taught for the production. 6. What are the directors looking for? We’re looking for students who are easy to work

with who best suit the heart of the show. We are looking for students who are unafraid

to take risks and win an audition. We hope that’s you. CONTACT

If you have questions, contact Jessica Chipman at 320.424.2240, jchipman@alexandria.k12.mn.us, or jchipman@alexschools.org. Monty Python’s SPAMALOT CHARACTERS KING ARTHUR (Late 30s‐60s): The King of England who sets out on a quest to form the Knights of the Roundtable and find the Holy Grail. Great Humor. Baritone. SIR ROBIN (30s‐40s): A Knight of the Roundtable. Ironically called “Sir Robin the Brave,” though he couldn’t be more cowardly. Joins the Knights for the singing and dancing. Typically also plays GUARD 1 and BROTHER MAYNARD, a long‐winded monk. Baritone. SIR LANCELOT [Lance] (30s‐40s): A knight of the Roundtable. He is fearless to a bloody fault but through a twist of fate, does discover his “softer side.” Must be strong with character voices and accents, as he typically also plays THE FRENCH TAUNTER, an arrogant, condescending, over‐the‐top Frenchman, the KNIGHT OF NI, an absurd, cartoonish leader of a peculiar group of Knights, and TIM THE ENCHANTER, a ghostly being with a Scottish accent. Baritone. PATSY (30s‐40s): King Arthur’s horse and servant. Underappreciated but always longing for King Arthur’s approval. Good, funny, physical mover with some tap dancing. Also typically plays MAYOR, a jolly red‐faced man who advertises the merits of his home town and the drunken, useless GUARD 2. Baritone. SIR GALAHAD (30s): A Knight of the Roundtable. Begins as Dennis, a lower class “mud gatherer” who becomes Knighted and transforms into the dashing Sir Galahad. Also typically plays

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PRINCE HERBERT’S FATHER, a wealthy, brutish Yorkshireman at odds with his sensitive son, and THE BLACK KNIGHT who is always ready to duel despite multiple injuries. Tenor. SIR BEDEVERE (20s‐40s): a knight of the Roundtable. An inept scholar. Also typically plays DENNIS GALAHAD’S MOTHER, shrill peasant woman, and CONCORDE, Sir Lancelot’s horse. No solo singing. THE LADY OF THE LAKE (20s‐30s): A diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Strong singing is essential, as she must be able to sing effortlessly in many styles and vocal registers. THE FOLLOWING ROLES ARE TYPICALLY PLAYED BY THE SAME ACTOR (20s‐30s): Tenor singing and strong moving required. HISTORIAN, a tweedy academic. NOT DEAD FRED: a sickly little fellow who, despite others’ beliefs, claims he is “not yet dead.” FRENCH GUARD, the condemnatory French sidekick to the French Taunter. MINSTREL: in Sir Robin’s band. PRINCE HERBERT, the hopeful and frilly prince who loves to sing and pines for his love atop a tower. ENSEMBLE MEMBERS WILL PLAY THE FOLLOWING ROLES: LAKER GIRLS, SIR NOT APPEARING, THE DANCING MONK, THE DANCING NUN, THE VOICE OF GOD, TWO FRENCH GUARDS, ROBIN’S MINSTRELS, and SIR BORS.

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1. HISTORIAN (Male or Female) England 932 A.D. A kingdom divided. To the West the Anglo­Saxsons, to the East the French.

Above nothing but Celts and some people from Scotland. In Gwynned, Powys, and DYfed­­plague. In the kingdoms of Wessex, Sussex, and Essex and Kent­­plague. In Mercia and the two Anglias­­plague: with a 50% chance of pestilence and famine coming out of the Northwest and twelve miles per hour. Legend tells of an extraordinary leader, who arose from the chaos, to unite a troubled kingdom . . . a man with a vision who gathered Knights together in a Holy Quest.

This man was Arthur, King of the Britons. For this was England!

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2. ARTHUR, PATSY, LANCELOT, ROBIN (all male)

(ARTHUR “rides” in, pretending to ride an imaginary horse, followed by PATSY, his servant, banging two halves of a coconut together. They take a leap.)

ARTHUR

Steady. And over we go.

(PATSY makes the appropriate coconut noise for each maneuver.)

ARTHUR (CONT’D) Well taken, Patsy. And canter. And trot. (They do.) And whoa there! Well done. Hello?

ROBIN

Hello?! Who goes there? What is it you want?

ARTHUR I am looking for men.

ROBIN

I had a feeling.

ARTHUR We have ridden the length and breadth of the land in search of knights to join me in my court at

Camelot.

ROBIN What, ridden on a horse?

ARTHUR Yes!

ROBIN You’re using coconuts!

ARTHUR

What do you mean?

ROBIN Well, this is a temperate zone.

(LANCE appears at an opposite window.)

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LANCE It could be carried by an African swallow.

ROBIN

Oh, yeah, an African swallow, maybe, but not a European swallow. That’s my point.

LANCE Oh, yeah, I agree with that.. Beautiful bird, the African swallow. Lovely plumage.

ROBIN

The plumage don’t enter into it. And besides, African swallows are non­migratory.

ARTHUR Will you ask your master if he wants to join my court at Camelot?

LANCE

Wait a minute, supposing two swallows carried it together?

(ARTHUR, despairing of any further sensible conversation, gallops off left with PATSY.)

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3. ARTHUR (male), DENNIS GALAHAD (male), and DENNIS GALAHAD’S MOTHER (male or female)

ARTHUR Over! Old woman!

DENNIS Man!

ARTHUR Man, sorry. What knight lives in that castle over there?

DENNIS

I’m twenty­seven.

ARTHUR What?

DENNIS I’m not old!

ARTHUR

Well, I can’t just say “man.”

DENNIS Well, you could say “Dennis.”

ARTHUR

Look I did say I was sorry about the “old woman thing, but really from behind you do look like . . .

MOTHER Dennis, there’s a lot of good mud over there. Oh, how d’ye do?

ARTHUR

How do you do, good lady.

MOTHER I’m Mrs. Galahad, widowed mother of Dennis, married to Nobby the Cretin, dropped dead last

Tuesday, which does leave me sadly available.

ARTHUR I am Arthur, King of the Britons.

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MOTHER King of the who?

ARTHUR The Britons.

MOTHER

Who are the Britons?

ARTHUR Well, we all are. We are all the Britons and I am your king.

MOTHER

I didn’t know we had a king. I thought we were an autonomous collective.

DENNIS You’re fooling yourself. We’re living in a dictatorship. A self­perpetuating autocracy in which the

working classes . . .

MOTHER Oh there you go, bringing class into it again.

DENNIS

That’s what it’s all about. If only people would . . .

ARTHUR Please, please good people. I am in haste. Who is your lord?

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4. CONCORDE (male or female) and LANCELOT (Lance rides in with his page CONCORDE. He is a very flashy rider.)

LANCE

Here we go, Concorde. And side saddle. Well done. And backwards, lovely. Well taken.

CONCORDE (getting hit with an arrow with a message attached) Thank you, Sir. Message for you, sir.

LANCE (reading)

“To whoever finds this note, I have been imprisoned by my father, who wishes me to marry against my will. Please, please please come and rescue me. I am in the tall tower of Swamp

Castle.” At last! A erm . . ?

CONCORDE Cry of distress, sir?

LANCE

A cry of distress! This could be the sign that leads us to the . . er….small shining drinking object...erm

CONCORDE

The Holy Grail, sir.

LANCE Exactly. Well done, Concorde! You shall not have died in vain!

CONCORDE

I’m not yet dead, sir.

LANCE Oh, I see.

CONCORDE

Actually, I think I’m all right to come with you…

LANCE No, no, no sweet Concorde! Deeds like this must be accomplished . . .

CONCORDE

Single­handedly? LANCE

Yes, I knew that one. 10

5. HERBERT, HERBERT’S FATHER (both male)

FATHER Stop! Stop all that singing. Listen, lad, one day all this will be yours!

HERBERT

What, the curtains?

FATHER No, not the curtains! All that you can see! Stretched out over the hills and valleys of this land!

This will be your kingdom!

HERBERT But, Mother…

FATHER Father.

HERBERT

Father, I don’t want any of that. I’d rather…

FATHER Rather what?!

HERBERT

I’d rather...just...sing!

FATHER You’re not doing a song while I’m here. In twenty minutes you’re getting married to a girl whose

father owns the biggest tracts of open land in Britain.

HERBERT But I don’t want land.

FATHER

Listen, Alice.

HERBERT Herbert.

FATHER

Herbert. We live in a bloody swamp. We need land.

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6. ARTHUR (male), LADY OF THE LAKE (female), PATSY (male)

LADY You’re not alone, Arthur. Haven’t you noticed? I’ve been with you all the time. Who gave you teh sword, who made you King, who welcomed you to Camelot, who helped you off on your quest?

ARTHUR

(realizing) Patsy, I”m not alone.

PATSY No, sir.

ARTHUR

The Lady of the Lake has been with me all the time.

LADY OF THE LAKE And so has Patsy.

ARTHUR

Ah, yes, but...Patsy’s family.

LADY OF THE LAKE You see, Arthur dear, we’re all here to help each other.

ARTHUR

Can you help me but on a Broadway show?

LADY OF THE LAKE Yes. You’re in a Broadway show.

ARTHUR

(Looks out at audience.) Oh, my.

LADY OF THE LAKE You’ve been in a Broadway show the whole time.

ARTHUR

Oh. Who knew?

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ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE (PATSY)

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I’M ALL ALONE (ARTHUR)

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COME WITH ME (Lady of the Lake)

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FIND YOUR GRAIL (Lady of the Lake)

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ALEXANDRIA AREA HIGH SCHOOL THEATRE DEPARTMENT AUDITION FORM Name: ________________________________________ Grade: ________________

PLEASE LIST PARTS YOU WOULD BE MOST INTERESTED IN: ______________________________________________________________________________________________________________________________________

Phone number: ________________________________ Email address: _________________________________ Parent names: __________________________________ Parent email address(es):_______________________________________________________ Age: ____ Gender: _____ Height: ______ Hair color: _____ Eye color: ____ Are you willing to . . . Dye your hair? YES___ No___ Cut your hair? YES ___ No___ Perform a stage kiss? YES ___ NO___ X____________________________________________ Signing by the “x” indicates you will accept any role offered to you. Are you available for callbacks, if needed? (Saturday, January 10 at 1:00pm) YES___ NO___ Please list any physical limitations the directors might need to know (medical conditions, etc.): What musical background do you have? (If you sing, what part do you sing? What instruments do you play?) What dance, gymnastics, or movement background do you have? Do you have any special talents, such as juggling, etc? Please list any and all previous acting experience (include show and role):

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Please list any and all previous crew experience (include specific responsibility): Alexandria Area High School Theatre Department treats theatre as a team, and the crew is the foundation of the production. Our crews are important to the success of the production—we love our crew members! Please number your TOP FOUR crew interests, with “one” meaning most interested (leave blank if you are not interested in crew): ____Stage manager: multitude of responsibilities, calls cues during run, director’s right­hand person ____Costume Crew: will pull, fit, find, and put together costumes ____Light Crew/Operator: sets, rotates, gels, focuses lighting equipment; operator programs and runs board ____Sound Crew/Operator: finds and mixes sound clips; operator programs and runs sound board ____Properties Crew: finds or creates all properties ____ Projection Crew:: designs and implements projections for the show ____Publicity Crew: develops and distributes promotional materials including videos and posters ____Hair and Make­up Crew: designs styles for each character; applies during run of show ____Construction Crew: works with set designer to build set; construction experience is helpful ____House crew: works to ready the theatre for production, sells tickets, hands out programs, ushers In order to be considered for a role in this production, please list ANY AND ALL recurring OR one­time conflicts you have on weekdays from 6:00­9:00 p.m. and Saturdays. Also list where you work or any church or school­related activities. PLEASE DO NOT LEAVE ANYTHING OUT.

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