NEYT ANNOUNCES AUDITIONS FOR 2018 SHOWS
All auditions take place at the New England Youth Theatre, 100 Flat
Street, Brattleboro, VT. 802-246-6398
2018 NEYT TRAVELING COMMEDIA TROUPE
Directed by Rosa Palmeri and Marcel Freda
AUDITIONS: Saturday November 11 from 1-3:00pm
Ages 12-19 Tuition $450
Join a small troupe of students in a traveling show that will not only go to Brattleboro area schools, but represent New England Youth Theatre at the 2018 Great River Theater Festival. If you are interested in building a show based in commedia, physical comedy, and clown and want to work with a strong, mixed-age troupe, I encourage you to join me in this concentrated, committed, and fun work. We are accepting 7-9 students into the troupe so there will be a real chance for advanced, individual training.
To audition: Prepare a short poem that makes you laugh, rhyming is good, you can write it if you want to! It should be 1 to 2 minutes long. Please make it very physical.
Sunday 12-5pm, Monday 4-6:45pm, Tuesday 4-6:45pm Wednesday 4-6:45pm (as called)
March 25, 26, 27, 28 (no Easter Sunday)
April 2, 3, 4, 8, 9, 10, 11 (no vacation week 15-20) 22, 23, 24, 25, 29, 30
May 1, 2, 6, 7, 8, 9 (NEYT performance May 8th 7pm)
PERFORMANCES throughout region in May
Additional rehearsals end of June TBD
Green River Festival - July 6, 7, 8 (2 performances)
Rosa Palmeri is an actor, teacher, and visual artist living between Brattleboro, VT and NYC. She teaches and directs with NEYT and with ‘Get Thee To the Funnery’ camps across the state. Her regional credits include Muriel McComber in Ah, Wilderness! and Beth/Mrs. Filcher in A Christmas Carol (American Conservatory Theater). Other favorite roles include Sabina in The Skin of Our Teeth, Masha in The Seagull, a two-woman Twelfth Night, a two-person Taming of the Shrew, and Harpo Marx in A Night at the Opera. She received her BFA in theater performance from the University of Evansville, and her MFA from the American Conservatory Theater. She trained at Shakespeare & Company, Celebration Barn, The New Harmony Project and under the tutelage of many, many clowns.
SENIOR COMPANY SPRING PLAY 2018
THE LARAMIE PROJECT by Moises Kaufman
Directed by Hallie Flower
AUDITIONS: Wednesday, November 15th 4-6:30 pm
Ages 13-19 tuition $450
In October 1998, openly gay college student Matthew Shepard was kidnapped, severely beaten and left to die, tied to a fence on the outskirts of Laramie, Wyoming. It was a hate crime that shocked the nation. Five weeks later, Moisés Kaufman and fellow members of the Tectonic Theater Project went to Laramie, and over the course of the next year, conducted more than 200 interviews with people of the town. From these interviews they wrote the play The Laramie Project, a chronicle of the life of the town of Laramie in the year after the murder. The dialogue and monologues which comprise The Laramie Project are taken from interviews, news reports, courtroom transcripts, and journal entries.
“And someone got up there and said… c’mon guys, let’s show the world that Laramie is not this kind of a town, why did this happen here?... That’s a lie. Because it happened here. So how could it not be a town where this kind of thing happens?...And we have to mourn this and we have to be sad that we live in a town, a state, a country where s**t like this happens. I mean, these are people trying to distance themselves from this crime. And we need to own this crime…We are like this.”
This project includes a weekend workshop with Tectonic Theater Project studying Moment Work and collaborations with both The Matthew Shepard Foundation and Green Mountain Crossroads.
Please come prepared with a brief (less than 2 minute) monologue from a contemporary play or novel.
REHEARSALS Begin February 5th
Monday, Tuesday, Thursday, & Friday
WORKSHOP WITH TECTONIC THEATER PROJECT
February 24th & 25th 10-5pm
Green Mountain Crossroads panel event dates TBA
PERFORMANCES: April 6, 7, 8, and 13, 14, 15
JUNIOR COMPANY WINTER 2018 PLAY
Adapted & directed by Peter Gould
AUDITIONS: November 15th 4-5:30pm
Ages 9-13; tuition $450
Robin Hood and his Merry Band are coming back to NEYT!
Here is how to audition for Peter Gould's "Robin Hood"
Robin Hood and his merry band have been roaming Sherwood Forest for about a thousand years now--robbing the rich and giving all the money to the poor! Deer-hunting with bows and arrows: Twang! Wsshhh! Thwack! And making the Sheriff of Nottingham suffer for his evil ways! You can join Robin's band of outlaws. Just bring a one-minute audition piece: some poetry or a bit of your favorite word play. We'll do some group fun with body and voice. Peter's auditions are all-inclusive and non-threatening: everyone is accepted! Auditions are our first chance to get to know each other and see what we all bring to the mix.
Come work under the Sign of the Four with Peter! (Heart/Mind/Body/Voice)
REHEARSALS Begin January 2nd
Mondays, Tuesdays, & Thursdays
8 PERFORMANCES: February 9,10, 11 & 16, 17, 18
ALL COMPANY HOLIDAY MUSICAL
Directed by Hallie Flower
TUITION $550 – SCRIPT DEPOSIT $30
To sign up for the NEYT Pit Orchestra follow this link or click on the sidebar.
AUDITIONS Monday, June 5th 3:45-6:30 Open Call
Callbacks, Sunday, June 11th 3:30-6pm
“What would you do if you had all eternity?”
ABOUT THE SHOW:
Based on the beloved story by Natalie Babbitt, TUCK EVERLASTING asks what a life would mean if it never ended, and whether a never-ending life would be worth living.
Eleven year old Winnie Foster yearns for a life of adventure beyond her white picket fence in Treegap, NH - but it's not until she becomes unexpectedly entwined with the Tuck Family that she gets more than she could have imagined. Learning of the magic behind the Tuck’s unending youth, she finds herself fighting to protect their secret of eternal life. As her adventure unfolds, Winnie faces an extraordinary choice: return to her life or continue with the Tucks on their infinite journey.
Adapted for the stage by Claudia Shear and Tim Federle, Tuck Everlasting features a soaring score from Chris Miller and Nathan Tysen.
This project will be the regional premier of this recent Broadway musical.
FAMILY MEETING: October 10th 6:30-7:30pm
REHEARSALS: Begin October 16th 3:45-6:45pm
Monday, Tuesday, Thursday, Friday with some Saturdays
Most actors will be called 3-4x a week
Extended hours during tech week
Thursday, December 7th 7pm
Friday, December 8th 7pm
Saturday, December 9th 2pm & 7pm
Sunday, December 10th 2pm
Thursday, December 14th 7pm
Friday, December 15th 7pm
Saturday, December 16th 2pm & 7pm
Sunday, December 17th 2pm
TUCK EVERLASTING - AUDITION MATERIAL
CHOOSE ONE MONOLOGUE AND ONE SONG TO PREPARE FULLY – with comprehension, memorization, and passionate commitment.
Young people who would especially like to be considered for Winnie should prepare the following music and any monologue from the provided materials:
2nd “There are two ways home down one long road”… thru…”can I, should I, will I drink.”
All other actors should select a song and a monologue from below:
TOP OF THE WORLD
“Watch my every step”… thru… “we’ve only got tonight” (first verse)
“Fella take a look at my suit”… thru… “soon everything’s golden and everything’s mine”
MY MOST BEAUTIFUL DAY
(Beginning of song)
“Each memory a sweet melody”… thru… “your most beautiful day for the rest of your life”
“There was a farmhouse with a grandfather clock… and there never came a time when they came back as one”
PARTNER IN CRIME
“You need a partner in crime”… thru… “without a friend to tell your stories to”
Some students will be asked to return with additional material. The callback gives the director a chance to focus on specific vocal and acting needs.
Just because someone is not called back does NOT mean they will not be cast. We also will not call back for all roles.
Actors called back for JESSE TUCK will be asked to sing:
TOP OF THE WORLD
(last verse, including Winnie’s lines)
“I’ll go out on a limb”… thru… “so look at me at the top of the world”
Actors called back for WINNIE FOSTER will be asked to additionally sing:
LIVE LIKE THIS
“Let this be the day”… thru… “I can’t live like this!”
And may be asked to sing the EVERLASTING cut to end
Actors called back for MAN IN THE YELLOW SUIT will be asked to sing:
“Look who has a spring in his step”…thru… “soon everything’s golden and everything’s mine”
Actors called back for MILES will be asked to sing:
“There was a farmhouse with a grandfather clock… and there never came a time when they came back as one… thru to end… “I’m left with nothing, nothing but time”
Actors called back for ANGUS TUCK will be asked to sing:
“It’s a wheel Winnie”… thru… “can’t stop growing, growing, changing, and moving on”
Actors called back for MAE TUCK will be asked to sing:
MY MOST BEAUTIFUL DAY
(End of song, post dance break in recording)
“Each memory”… thru end of song.
CHARACTER & ENSEMBLE BREAKDOWN:
This show offers an unusual experience when compared to some of our recent Holiday productions. Much of the atmosphere and thematic questions are expressed through the dance, movement, and physical actions of the ensemble. Their presence weaves in and out of the story as commentary and counterpoint to illuminate the themes, interior character obstacles, and inhabit memory. There are also more traditional production numbers connected to the Fair that has come to town – and then, at times, the styles mix.
The rehearsal experience will include much dance and movement as well as singing. It is a unique opportunity for us to expand how we tell story. Love to move? Scared to move but interested in trying something new? There is rich material for us to play with through 8 musical production numbers and a huge central dance/movement piece that expresses the story of the life Winnie eventually chooses. How busy we will be!
Approximately 40 actors
7-12 “young adults”
4-6 youngest “children”
Here are ALL ROLES needed to tell this story. Some actors will play multiple roles; some will play one character throughout. Do remember we embrace non-traditional casting.
WINNIE FOSTER - (appears) 11 years old. Mezzo Soprano
MOTHER - Winnie's protective mother. A widow.
NANA - Winnie's grandmother with the acerbic wit.
(Mother and Nana may double as additional characters in some production numbers.)
JESSE TUCK - The youngest of the Tuck family, (appears) 17. Tenor
MILES TUCK - Jesse's older brother (appears) 21. Tenor
MAE TUCK - Jesse's mother. Mezzo Soprano
ANGUS TUCK - Jesse's father. Baritone
MAN IN THE YELLOW SUIT - The nefarious leader of a traveling carnival, in search of the fountain of youth. (Gender is not important in this casting.)
Baritone or Alto.
CONSTABLE JO - Head of the police force in Treegap. Baritone or Alto.
HUGO - Constable Joe's sidekick and son. Tenor
THE FOREST ENSEMBLE
8-12 core dancer/singers
THE COMMUNITY ENSEMBLE
(Carnival performers & neighbors of Treegap, NH)
10 CARNIVAL PERFORMERS
The 2 CORSETED SIDEKICKS to our villain
SAD CLOWN ON STILTS
COTTON CANDY SELLER
THE NEIGHBORS OF TREEGAP, NH
6-8 adults & young adults (Parents, Young Lovers, Spinsters)
DANCE DOUBLES & FLASHBACK ENSEMBLE:
10-12 Mae & Angus’ neighbors at the village dance
THOMAS TUCK as a child
THOMAS’ MOTHER (Miles’ wife)
WINNIE as a young woman, bride, and mother
HUGO as a grown man
12 Wedding attendants
THEIR SON AS A CHILD
THEIR SON GROWN
12 Mourners at the funeral
12 Celebrants at the son’s wedding
TUCK AUDITION MONOLOGUES
(TIP: Make the language active – rather than as if you are reading a story. Think about the point of view of the speaker and who they are speaking with as well… and then let those things show. If you are interested in certain kinds of characters, like good guys or bad guys, make a bold choice with material and use it like they would.)
“I don’t know your story but I bet it’s longer than I’ve got time to hear. So at the risk of sounding unneighborly: how about you folks leave my town, and never turn up again.”
“The first week of August hangs at the very top of summer, the top of the live-long year, like the highest seat of a Ferris wheel when it pauses in its turning. The weeks that come before are only a climb from balmy spring, and those that follow a drop to the chill of autumn, but the first week of August is motionless, and hot. It is curiously silent, too, with blank white dawns and glaring noons, and sunsets smeared with too much color. Often at night there is lightning, but it quivers all alone. There is no thunder, no relieving rain. These are strange and breathless days, the dog days, when people are led to do things they are sure to be sorry for after.”
“The ownership of land is an odd thing when you come to think of it. How deep, after all, can it go? If a person owns a piece of land, does he own it all the way down, in ever narrowing dimensions, till it meets all other pieces at the center of the earth? Or does ownership consist only of a thin crust under which the friendly worms have never heard of trespassing?”
“In the end, however, it was the cows who were responsible for the wood's isolation, and the cows, through some wisdom they were not wise enough to know that they possessed, were very wise indeed. If they had made their road through the wood instead of around it, then the people would have followed the road. The people would have noticed the giant ash tree at the center of the wood, and then, in time, they'd have noticed the little spring bubbling up among its roots in spite of the pebbles piled there to conceal it. And that would have been a disaster so immense that this weary old earth, owned or not to its fiery core, would have trembled on its axis like a beetle on a pin.”
"Look here, toad, I don't think I can stand it much longer. If I had a sister or a brother, there'd be someone else for them to watch. But, as it is, there's only me. I'm tired of being looked at all the time. I want to be by myself for a change. I'm not exactly sure what I'd do, you know, but something interesting—something that's all mine. Something that would make some kind of difference in the world. It'd be nice to have a new name, to start with, one that's not all worn out from being called so much. And I might even decide to have a pet. Maybe a big old toad, like you, that I could keep in a nice cage with lots of grass, and – (The toad croaks) I suppose you're right, then you'd be just the way I am now. Why should you have to be cooped up in a cage, too? It'd be better if I could be like you, out in the open and making up my own mind.”
JUNIOR COMPANY FALL PRODUCTION PROJECT
CLOWN TOWN 2017
For ages 9-13 tuition $450
Directed by Doran Hamm, Stephen Stearns, & Billy Higgins
AUDITIONS: Monday June 12th 3:45-6pm
REHEARSALS: Begin Monday, September 11th
Monday, Tuesday, Thursday 3:45-6:30 & some Saturdays
Extended hours during tech week.
Friday, October 27th 7pm
Saturday, October 28th 2pm & 7pm
Sunday, October 29th 2pm
Tuesday, November 31st 9:30am SCHOOL SHOW
Friday, November 3rd 7pm
Saturday, November 4th 2pm & 7pm
Sunday, November 5th 2pm
WHAT IT’S ALL ABOUT:
The clowns are back in town for CLOWN TOWN 2017!
Come explore clown, mime, and physical comedy with NEYT founder and Clown of the first order, Stephen Stearns, and clowns of the second order Billy and Dory in an original clown-tacular performance.
WHAT TO PREPARE:
Come with a short story or tale to tell. An abbreviated version of a fairy tale or short story just in super speed. Make it 30 second - 1 minute, using physicality, voice, movement as if you were going to entertain a group of kids younger than yourself. Be prepared to be physical, loud, play characters, whatever help you tell the story clearly and in an over the top manor. Before and afterwards we will play games, do exercises, laugh, and be incredibly silly. Most importantly come ready to play, have fun, and be your honest clown selves.