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SWEET CHARITY
BOOK: NEIL SIMON MUSIC: CY COLEMAN LYRICS: DOROTHY FIELDS
10 - 14 JULY 2018 | GREAT HALL AT THE LEYS
INFORMATION PACK
1
CONTENTSOfficial Overview ...............................................................2
Creative Team .....................................................................2
Director’s Vision ................................................................3
Cambridge Theatre Company ..................................... 4
Audition Dates ...................................................................5
Format of the Auditions .................................................5
Key dates and Performance dates .............................6
Rehearsal dates .................................................................6
Production fee ....................................................................6
Sweet Charity Characters ..............................................7
Monologues for Principal Auditions .........................9
Music for the Auditions ................................................. 15
CTC’s Priscilla Queen of the Desert
CTC’s Les Misérables School Edition
2
OFFICIAL OVERVIEWSweet Charity follows the always poignant and often-funny misadventures in love encountered by
the gullible and guileless Charity Hope Valentine, the ever-hopeful taxi dancer who consistently gives
both her heart and her earnings to the wrong man. Charity sings, dances and cries her way through
a series of brief romances until she finds herself stuck in a lift with the shy, nervous Oscar Lindquist.
Has Charity finally found her match?
The show sparkles with an iconic score by Cy Coleman and witty lyrics by Dorothy Fields
and features musical standards The Rhythm of Life, If My Friends Could See Me Now and the
unforgettable Big Spender.
Join Cambridge Theatre Company for Sweet Charity, a classic musical in every sense of the word,
and spend a little time with Charity.
SWEET CHARITY CREATIVE TEAM Director & Choreographer
David Mallabone
Musical Director
Paul Garner
Assistant Director
Samantha Billing
Produced by
Louis Ling
for Cambridge Theatre Company
CTC’s Goodnight Mister Tom CTC’s Les Misérables School Edition
2
3
DIRECTOR’S VISION David Mallabone, Director
I choreographed my first full production 24 years ago and in that
time I have choreographed or directed a variety of classic musicals
such as Guys and Dolls, My Fair Lady, Pippin and most recently,
Priscilla, Queen of the Desert for CTC. But in all this time I have
never revisited a show. Until now.
I first choreographed a production of Sweet Charity ten years
ago. The score is stunning and from the iconic opening bars of
the overture, which trumpet the unmistakable introduction to Big
Spender, the music is at the heart of this show. However, it is easy
to underestimate the power of the story. The tale of Charity Hope
Valentine, based on Fellini’s screenplay Nights of Cabiria, is by turns
funny, poignant, joyous and heart-breaking. Through it all, Charity
never loses her optimism and, whilst the audience can marvel at
her hope in the face of terrible adversity, she never loses sight of
that better future. I would like this CTC production of Sweet Charity
to really pull at the heartstrings of the audience and emphasise
the juxtaposition between Charity’s situation and her almost
eternal optimism. But I want us to show Charity’s humanity and
vulnerability – for me, she is not just a simple fool, which is an easy
way to play her, but one of life’s good guys who always tries to see
the best in people and in her situation. Often at her own expense.
Those who have worked with me before will know my devotion to
the work of Bob Fosse. For me, Fosse’s Rich Man’s Frug from the
film version remains one of the most sublime pieces of musical
theatre choreography it is possible to witness. So my vision is that
we can pay homage to the work of Fosse whilst producing our own
take on some of the best songs in musical theatre. Big Spender
provides an exciting challenge for any musical theatre performer.
There’s Got To Be Something Better Than This is fizzing with life and
energy, Big Spender is a musical piece of sardonic overview of the
dance hall business and The Rhythm of Life is a tour-de-force for
ensemble singing and staging.
Ultimately, I want the audience of CTC’s Sweet Charity to leave
the theatre having cheered, laughed and cried with Charity Hope
Valentine.
4
CAMBRIDGE THEATRE COMPANYLouis Ling founded CTC in the Summer of 2015 and produced The Addams Family, Monty
Python’s Spamalot in 2016 at the ADC, and with Goodnight Mister Tom in the same year at
our new home, Great Hall at The Leys. In 2017, Louis programmed the season with Priscilla,
Queen of the Desert, Les Misérables School Edition, and James and the Giant Peach.
CTC is now working on producing it’s biggest season in 2018 with shows such as Sweet
Charity, Dead Man’s Cell Phone, West Side Story, Little Women and Roald Dahl’s The Twits.
CTC’s Priscilla Queen of the Desert
CTC’s Goodnight Mister Tom
CTC’s Les Misérables School Edition
CTC’s Priscilla Queen of the Desert
5
INTRODUCTION EVENING & AUDITION DATES INTRODUCTION EVENINGCome and meet the team behind CTC next show, Sweet Charity
Sunday 17 December 2017 – 6.30-8pm
Great Hall at The Leys (follow the signs for the Great Hall).
AUDITIONSFriday 26 January 2018 – 7.30pm - 10pm
CSVPA Dance Studios, Sturton Street, Cambridge CB1 2QG
(corner of New Street and Sturton Street)
Sunday 28 January 2018 - 6.30 - 9.30pm
Haslingfield Village Hall, New Rd, Haslingfield, Cambridge CB23 1JP
Tuesday 30 January 2018 – 6pm – 9.30pm
CSVPA Dance Studios, Sturton Street, Cambridge CB1 2QG
(corner of New Street and Sturton Street)
You’ll be sent a time for your individual audition about a week
before the audition date.
FORMAT OF THE AUDITIONSThe auditions will start with an introduction by the team. This will be
followed by a dance workshop led by David Mallabone. This will last
no more than 30 minutes.
After that, in timed audition slots, there will be individual singing
and acting auditions for the Ensemble and for Principals.
Please wear comfortable clothing for the audition.
If you have any questions regarding the level of movement
before the audition please contact, David Mallabone, at
A full rehearsal schedule will be sent out about 6 weeks before the
first rehearsal. It’s important to give us any dates for which you will
be unavailable.
Please indicate these on the audition form, which you’ll
hand in at your audition. This will assist us with preparing the
rehearsal schedule. To request an audition slot, email us at
[email protected]. Mention your preferred
audition session and whether you wish to audition for a principal
or ensemble role.
6
KEY DATESREHEARSALSTuesday and Friday rehearsals will run
from 7:30 to 10:00pm with some Sunday
rehearsals during the day in Cambridge.
Rehearsal venue will be announced in due
course.
Monday 9 July
Dress Rehearsal, call at 6pm
REHEARSAL SCHEDULE APRIL MAY
Tue Fri Sun Tue Fri Sun
1 4
8 11
15 18 20
29 22 25
29
JUNE JULY
Tue Fri Sun Tue Fri Sun
1 3 1
5 8 3 6
12 15 17
19 22
26 29
PERFORMANCES Tuesday 10 July, 7.30pm (call at 6pm)
Wednesday 11 July, 7.30pm (call at 6pm)
Thursday 12 July, 7.30pm (call at 6pm)
Friday 13 July, 7.30pm (call at 6pm)
Saturday 14 July 2.30pm & 7.30pm (1pm call).
PRODUCTION FEE In Cambridge many groups charge a
production fee to assist with costs for
the production. This will be £45 for
Sweet Charity. This fee will also cover
a show shirt.
Additionally we require all actors
to have a professional headshot
that will be used in the programme
and the marketing campaign.
The charge for this will be £35.
It can be used for future productions.
If you have one already which is
good quality, please send it to
for approval once you have been cast
in the show.
7
SWEET CHARITY CHARACTERS Please note that the ages listed just serve as a guide. All roles are available and casting is open. Newcomers to Cambridge Theatre Company
are welcome and encouraged.
PRINCIPALS (FEMALE):CHARITY HOPE VALENTINE LEAD. Playing age of 23 – 38. Mezzo soprano.
Very strong character actor with strong singing (able to sing a
variety of styles) and very strong dancing ability.
NICKIE
SUPPORTING. Playing age of 25 – 40. Mezzo soprano.
Strong character actor with good singing and very good dancing
ability.
HELENE
SUPPORTING. Playing age of 25 – 40. Mezzo soprano.
Strong character actor with good singing and very good dancing
ability.
URSULA
FEATURED. Playing age of 20 – 40. Spoken role.
Strong character actor with an ability to play comedy well and
portray a glamorous character. Could also play in the ensemble,
especially in Act 2.
PRINCIPALS (MALE):VITTORIO VIDAL / OSCAR LINDQUIST
LARGE SUPPORTING ROLE. Playing age of 25 – 40. Baritone.
Very strong actor with the ability to play varying roles. Strong
baritone singing voice able to sing a variety of styles.
DADDY JOHANN BRUBECK
SUPPORTING. Playing age of 20 – 50. Baritone.
Strong, charismatic actor with big stage presence. Good dancing
ability preferred for this role. Could also play in the ensemble,
especially in Act 1.
HERMAN
SUPPORTING. Playing age of 35 – 60. Baritone.
Strong character and comic actor with strong baritone voice.
Dancing ability preferred but not essential.
8
ENSEMBLE (MALE):Sweet Charity is a strong ensemble show. As well as the big song
and dance numbers, as the action follows Charity around NYC,
there is the opportunity for the ensemble to create a collection of
distinct characters. In addition, there are a variety of small featured
roles to be played by the male ensemble including Mike and Barney.
Men auditioning for the ensemble should be strong singers and
preferably strong dancers or at least willing to work hard at the
dance numbers and expect a challenge. They should also be sound
character actors with clear speaking voices. Male ensemble will
feature strongly in Rich Man’s Frug, I’m A Brass Band, The Rhythm
of Life, Sweet Charity and I Love To Cry At Weddings along with a
variety of acting scenes.
ENSEMBLE (FEMALE):Sweet Charity is a strong ensemble show. As well as the big song
and dance numbers, as the action follows Charity around NYC, there
is the opportunity for the ensemble to create a collection of distinct
characters. In addition, there are a variety of small featured roles to
be played by the female ensemble including featured taxi dancers at
the Fandango Ballroom (eg Carmen and Rosie). Women auditioning
for the ensemble should be strong character actors, singers and
preferably strong dancers or at least willing to work hard at the
dance numbers and expect a challenge. Female ensemble will
feature strongly in Big Spender, Rich Man’s Frug, There’s Gotta Be
Something Better Than This, The Rhythm of Life, Sweet Charity and I
Love To Cry At Weddings along with a variety of acting scenes.
CTC’s Priscilla Queen of the Desert
MONOLOGUE FOR THE ACTING AUDITIONS FOR PRINCIPALS:
CHARITY Prepare both of the dialogues below
DIALOGUE 1 a phone call from the Pompeii Club. Charity is with film star, Vittorio Vidal.
Charity: (Into phone) Hello, Nickie, Miss Valentine speaking. (She is putting on airs)
Miss Valentine…Any messages for me?....Charity, jerk!...Who called?....Jerry the Greek?
(To Vidal) Must have been an overseas call. Oh, well, I don’t know what time I’ll be home…
That’s entirely up to Vittorio… Vittorio Vidal… Yes, the international film star…. We’re sitting
together at a table at the Pompeii Club waiting for our rolls… Oh all right.
(She hands Vidal the phone.) Would you please say hello?
Vidal: (Into Phone) Hello
Charity: (Into Phone) There’s your hello - now goodbye.
DIALOGUE 2 at the Fandango Ballroom
Charity: Nickie, why did he do it, why? I bought him everything he ever wanted. I even got
him a midnight blue Mohair 79 dollar Italian suit that he could have bought for 45 at Howards.
But that louse wouldn’t wear a Howard’s suit….
Nickie: Go ahead honey! Get it out of your system.
Charity: The things I used to do for him. Getting up in the middle of the night to get him a
provolone sandwich and a bottle of Yoo-Hoo chocolate milk.
Nickie: Men – they got no feelings.
Charity: (To a picture of Charlie) Well, I’ve had it up to here, Mister. You can slip and slide your
greasy head on some other girl’s shoulder.
Nickie: You tell him, baby.
Charity: I hope your tight Italian pants choke you to death.
OSCAR / VITTORIO Prepare both of the dialogues below, one as Oscar and one as Vittorio
DIALOGUE 1 Oscar and Charity, just before the marriage proposal
Charity: And do you have any idea how I earn that money? Do you? Heh?
Oscar: You’re a dance hall hostess.
Charity: I’m a dance hall hostess. I work in a dance hall. I dance with strange men and talk to
them and drink with them and...(She suddenly realises what he said) How did you know?
Oscar: I’ve known for a week now. I was riding a bus one night, saw you, jumped off and
before I could catch you I saw you go into this dance hall. I went in and stood in the corner.
You were sitting in the booth with some man. You were laughing and giggling. I didn’t stay
very long---- an hour or so…. That night when I went home, I tried very, very hard to hate you,
Charity….but I couldn’t do it. I just couldn’t hate you.
DIALOGUE 2 Vittorio and Ursula after a row; Vittorio is hiding Charity in the closet
Vidal: Why do we say the things we do? Why do we torture each other like this?
Ursula: Because I’m an immature foolish child, that’s why?
Vidal: It’s my vanity. My stupid egotistical vanity.
Ursula: No darling, it’s my fault. It’s all mine.
Vidal: I don’t know anymore. I just don’t know whose fault it is.
Ursula: I never want to be away from you. Ever again.
Vidal: It’s no good without you, Ursula. No good at all.
Ursula: Without you, Vittorio, there is no love.
Vidal: (Postures) And without love, life has no purpose!
NICKIE / HELENE / FEMALE ENSEMBLE (READING ROLE OF NICKIE) Prepare the dialogue below
DIALOGUE Charity has just returned to the Fan Dango Ballroom after spending the night with Vittorio
Charity: You don’t believe me? You don’t believe I spent the night with Vittorio Vidal?
Nickie: You swear?
Charity: I swear!
Nickie: On your mother’s life?
Charity: On my mother’s life.
Nickie: (To Betsy) Call up and find out how her mother is.
Charity: (Shows momentos) Here. He gave me these. They’re momentos of our evening
together.
Nickie: Is that all he gave you? Honey, if I was you I’d pass the hat and beat myself to death
with the cane ‘cause you are dumb.
Charity: But you don’t know what happened.
Nickie: Forget it. What you do in bed is your business.
Charity: I wasn’t in bed. I was in the closet.
Nickie: To each his own. A hat and a cane. If it was me I would have walked out of there with
my own beauty parlor.
Helene: Now you’ll never get out of here. Baby, you’re stuck. Just like the rest of us.
Nickie: Not me... I’m not gonna spend the next forty years in the Fan-Dango Ballroom. I’m not
gonna become the world’s first little old taxi dancer... I’m gettin’ out.
DADDY BRUBECK / MALE ENSEMBLE (READING ROLE OF DADDY) Prepare the dialogue below
DIALOGUE at the Rhythm of Life Church
Daddy Brubeck: This is where it’s happening, Baby. The Rhythm of Life--- Number Seven in
the Ten Top Religions.
Assistant #1: We’re gonna climb to Number One, Daddy!
Daddy Brubeck: Time is running out on the big number called Life. And we are all coming to
the last eight bars. And the leader man will soon take us by the hand where we will enter the
flip side of life called Eternity.
Assistant #2: Eternity
Assistant #1: The big coffee break in the sky
Daddy Brubeck: But before we pile into that big bus …. We got to make our peace.
Assistant #2: Make it Daddy, make it.
Daddy Brubeck: I shall not put my mother and father down.
Group: No Daddy.
Daddy Brubeck: I shall honor my debts, my grievances and my alimony.
Group: Oh yeah.
Daddy Brubeck: I shall not falsify my name at the Unemployment Bureau.
Group: Oh yeah!
Daddy Brubeck: I shall respect my obligations and report each month to the police.
Group: Oh yeah.
Daddy Brubeck: I shall not indulge in the evil marijuana weed commonly known as pot… It is
sinful… It is harmful…and it is very expensive---- (sirens sound) And I suggest you dump the
goods before the cops arrive.
HERMANPrepare the dialogue below
DIALOGUE At Charity’s engagement party
Herman: And now, through the courtesy of the hostesses of the Fan Dango Ballroom, Local
107, waiters, the janitor, Joe the Bouncer, Harry the Cop, and our three regular customers since
1954….we present…. (fanfare) a seventeen dollar cake.
Charity: Beautiful! (She bends over and reads the inscription) “Happy Birthday Angelo”???
Nickie: (Whacks Herman across the shoulders) You couldn’t get a new cake, you cheapskate?
Herman: All right, all right. I didn’t know she was leavin’ till this morning.
Charity: Never mind. It’s the sentiment that counts….. Herman, Angelo and I thank you very
much.
Herman: (smiles at her) For a broad, you gotta lotta class. (Shouts for quiet) It ain’t often
that one of our girls leaves to marry a nice, respectable guy. In fact this is the first time it ever
happened. And so as a parting gesture, our three regular customers since 1954, would like a
farewell dance with our own, bride-to-be, Miss Charity Valentine.
URSULAPrepare the dialogue below
DIALOGUE Vittorio and Ursula after a row; Vittorio is hiding Charity in the closet
Vidal: Why do we say the things we do? Why do we torture each other like this?
Ursula: Because I’m an immature foolish child, that’s why?
Vidal: It’s my vanity. My stupid egotistical vanity.
Ursula: No darling, it’s my fault. It’s all mine.
Vidal: I don’t know anymore. I just don’t know whose fault it is.
Ursula: I never want to be away from you. Ever again.
Vidal: It’s no good without you, Ursula. No good at all.
Ursula: Without you, Vittorio, there is no love.
Vidal: (Postures) And without love, life has no purpose!
MUSIC FOR SINGING AUDITIONS: Audition sheet music is available from camtheatrecompany.co.uk/get-involved, or can be
sent to you by email if you prefer. If you have any questions about the music or to request an
audition slot, email to [email protected]. Mention your preferred audition
date and whether you wish to audition for a principal or ensemble role.
Those preparing to audition for roles should prepare the following songs:
CHARITY
If My Friends Could See Me Now and Where Am I Going?
VITTORIO / OSCAR
I’m The Bravest Individual and Too Many Tomorrows
NIKKI / HELENE
There’s Gotta Be Something Better Than This
DADDY BRUBECK
The Rhythm of Life
HERMAN
I Love To Cry At Weddings
URSULA / ENSEMBLE The Rhythm of Life