Who's Directing?
Jeremy Kisling LCT's Associate Artistic Director and Amie Dunn will be co-directing the production. Anne Meacham will serve as Stage Manager. During auditions if you have a question about any part of the audition, rehearsal or performance aspect of this show, ask someone with a nametag.
Audition dates
June 5th and 6th 1 PM to 5 PM.
Auditionees must attend the entire four hour block.
Where and when does the show perform?
Performances are on LCT's Main Stage July 29 - August 1st, 2010
There are five performances.
Weekend curtain times are 2 PM and 7 PM
(actors are onsite from 1 to 4 PM and 5:30-9:00 PM).
The weekend performances are:
7:00 PM July 30, 31 & August 1
2:00 PM August 1 & 2
How many people will be cast and what ages?
The show requires a cast of approximately 30 cast members of varying ages. A complete cast list and their suggested ages are available online. But you must turn 9 prior to May 30th, 2010 to be eligible to audition.
What role is perfect for me?
If you want to know what role is perfect for you we recommend reading the PERUSAL SCRIPT available in the box office.
What is the story of Willy Wonka? (Play Synopsis)
Willy Wonka, owner of a magical and mysterious chocolate factory, invites the audience to join him in a world of “pure imagination” (Pure Imagination). Although Wonka excels at making candy, he is ready to retire and find some “bright spark” to continue his candy confectioning (Golden Age of Chocolate).
Charlie Bucket’s family is poor. They do not have enough money to buy food or warm clothes, let alone candy. The local Candy Man arrives with his candy cart of Wonka treats, and gives Charlie a sample “on the house,” as well as yesterday’s paper (The Candy Man).
The paper contains exciting news: Willy Wonka is holding a contest! The five lucky people who find Golden Tickets inside Wonka bars win a tour of the chocolate factory and a lifetime supply of chocolate. While returning to school, Charlie learns the enormous eater, Augustus Gloop, has found the first Golden Ticket in Frankfurt, Germany. Augustus and his mother describe how Augustus has been carefully trained for the task of eating lots of food (I Eat More).
The reporter, Phineous Trout, announces that Veruca Salt has found the second Golden Ticket in Sao Paulo, Brazil. Veruca’s father assisted her search by having his factory workers shell chocolate wrappers. Charlie makes his way home to find his father sitting alone on a bench. Mr. Bucket has lost his job at the toothpaste factory and worries the family will starve. Charlie reminds his father “the Bucket family always thinks positive” (Think Positive).
Charlie and his father return home and, “surprise!” it’s Charlie’s birthday! Charlie receives a Wonka bar as a birthday present, but no Golden Ticket is found. The family tunes in the radio, only to learn Violet Beauregarde, of Snellville, Georgia, has found the third Golden Ticket. Violet is a gum chewer who switched to chocolate in order to win the contest, but is now back to constantly chewing gum. Phineous Trout interrupts to announce Mike Teavee, in Television City, California, has found the fourth Golden Ticket. Mike and his mother explain the only thing they need is TV, the Internet and computer games (I See It All on TV).
Charlie wishes he’d never heard of “chocolate” or “Willy Wonka” and the family encourages Charlie to cheer up (Cheer Up, Charlie). The city is blanketed in a deep snow; on his way to school, Charlie meets the Candy Man, who gives Charlie his scarf. Charlie finds a coin buried in the snow, and offers to post a notice about the lost coin. The Candy Man rewards Charlie with a Wonka bar for being “such a good kid.” Charlie then purchases a Wonka bar and finds the final Golden Ticket (Think Positive - Reprise and (I’ve Got a) Golden Ticket)!
He runs home to tell his family of his win and they decide Grandpa Joe should accompany Charlie on the tour of Wonka’s factory (At The Gates). Wonka greets the five winners and their parents at the gates, and they begin their tour of the magical factory (In This Room Here).
They arrive at the Chocolate Smelting Room, where Wonka chills chocolate to the perfect temperature for dipping strawberries. Augustus cannot resist tasting the chocolate and falls into a vat of it, which hardens instantly like magic shell, trapping Augustus. The Oompa-Loompas remove Augustus and his mother and reveal the moral of eating too much (Oompa-Loompa 1).
Wonka continues the tour by revealing a pink candy boat that takes the remaining group on a psychedelic adventure down a chocolate river (There’s No Knowing). They arrive at the Inventing Room where Violet is tempted by the Everlasting Gourmet Gobstopper (Chew It). She snatches one, chews it, and swells like a giant blueberry. The Oompa-Loompas remove her and her mother and detail the moral of children who chew gum more than once in a while (Oompa-Loompa 2).
Charlie and Grandpa Joe are separated from the group and discover the Fizzy Lifting Drink. They taste a bit of the drink and fly towards the sky (Flying). They encounter an exhaust fan overhead—which could mean their untimely demise—but they discover that by burping they float safely to the ground (Burping Song). They rejoin the group in the Nut Room where Veruca demands a Squirrel, a pink candy boat and an Oompa-Loompa (I Want It Now!). Veruca and her father disappear down a trash chute that may or may not lead to the incinerator, and the Oompa-Loompas discuss the moral of spoiled brats (Oompa-Loompa 3).
With just Charlie, Grandpa Joe, Mike and Ms. Teavee left, the tour reaches the Choco-Vision Room, where Mike meets his temptation and is shrunk to barely six inches tall. The Oompa-Loompas discuss the moral of too much TV and technology (Oompa-Loompa 4).
At the conclusion of the tour Charlie does something remarkable: he thanks Wonka for the tour and admits to tasting the Fizzy Lifting Drink and breaking the rules. Wonka reveals the tour was a test of character and only Charlie has succeeded. Wonka proclaims Charlie as his successor as Charlie’s family joins them at Wonka’s factory (Finale).
What does a director look for at auditions?
We are looking for fun and interesting to work with. The Summer Family Musical works to cast as many family units as possible. Young people who audition with adults do have a stronger chance of being involved in the production. With a musical, the directors are looking for people whop can dance, act and sing. Even you are not strong in all three areas, there may be a role just perfect for you. Our job as directors is to match the characters with those who audition. We look for clear distinct characters, individuals who have good volume and diction and have the ability to move.
What roles are available in the cast of characters?
PLEASE NOTE: Characters, genders, and ages may be adjusted depending upon who auditions. Some characters may double. Much will depend on who auditions and how things shake out.
CHARACTER |
DESCRIPTION |
GENDER |
AGE RANGE |
CHARLIE BUCKET |
Poor, simple and honest |
Male |
10-16 |
WILLY WONKA |
A salesman, with a quirky side |
Male |
20-55 |
AUGUSTUS GLOOP |
A gluttonous overeater |
Male |
10-16 |
MIKE TEAVEE |
A video gamer |
Male |
10-16 |
VERUCA SALT |
A bratty girl who gets her way |
Female |
10-16 |
VIOLET BEAUREGARDE |
Loves to chew gum |
Female |
10-16 |
MR. BUCKET |
Charlie’s hard working Dad |
Male |
20-40 |
MRS. BUCKET |
Charlie’s mom |
Female |
20-40 |
MRS. BEAUREGARDE |
Violet’s Mom |
Female |
20-40 |
MR. SALT |
Veruca’s Dad |
Male |
20-40 |
MRS. GLOOP |
Augustus’ German Mother |
Female |
20-40 |
MS. TEAVEE |
Mike’s mom |
Female |
20-40 |
OOMPA-LOOMPAS |
6 -8 energetic factory workers |
Boys& Girls |
9-25 |
GRANDMA GEORGINA |
Charlie’s bed ridden grandparent |
Female |
15-99 |
GRANDMA JOSEPHINE |
Charlie’s bed ridden grandparent |
Female |
15-99 |
GRANDPA GEORGE |
Charlie’s bed ridden grandparent |
Male |
15-99 |
GRANDPA JOE |
Charlie’s best friend |
Male |
15-99 |
PHINEOUS TROUT |
A reporter |
Male |
15-99 |
ALFIE |
A youth |
Boy or Girl |
9-20 |
BILLIE |
A youth |
Boy or Girl |
9-20 |
DANNY |
A youth |
A Boy |
9-20 |
JAMES |
A youth |
A Boy |
9-20 |
MATILDA |
A youth |
A Girl |
9-20 |
SOPHIE |
A youth |
A Girl |
9-20 |
SQUIRRELS |
Nutty for nuts |
Squirrel |
Ageless |
What do I do before auditions?
Once your appointment has been arranged you'll receive an Audition packet. Download, print out and complete the papers in your audition packet (in your best handwriting) and READ the information sheet. The information sheet contains as much specific information as can be determined prior to auditions... every possible rehearsal date available, parental commitment, costume requirements, our general policies, etc. If time permits you'll also want to read the perusal script or the source material.
What do I wear to auditions?
Wear comfortable clothing that allows you to move without risk of embarrassment, but does not mask the size and shape of your body.
What do I bring to auditions?
Your completed audition packet ... audition form (front and back) and tentative rehearsal schedule with any possible conflict dates listed. You might also want to bring a “quiet” activity (homework or books are highly recommended as the process can be a lot of hurry up and wait) and don’t forget your $1.00 for your photo. If you are a student you should bring a parent.
What is on the audition form?
The front has your vital statistics so we know how to get hold of you (and your parents), your availability for callbacks and rehearsals, a space for listing conflicts and a photo waiver.
The back of the audition form is a place to list your theatre experiences, training and special talents. Resumes are encouraged but not required.
There is a space for your photo. They will be taken that day by LCT staff. A photo is mandatory, no substitutes. With the number of people coming through the door it is important that your picture is of you, in the clothes that you wore to the audition that day.
Do I have to have a resume?
No. But if you're serious about this business and have been in several productions or taken several classes you should create one. We'll be glad to attach it to your audition form on the day of your audition.
What will I do at auditions?
When you arrive at the theatre go to the check-in desk. If you have not already you will receive an audition packet and be asked to fill it out. We'll collect your $1 photo fee and you'll have your picture taken, and turn in your forms. During the actual audition you'll participate in warm-ups, improvisational games and/or you may be asked to read from the script, learn and sing a song from the show and dance a combination taught by our choreographer.
It’s best to think that you are auditioning at all times from the moment you walk in the door until you leave the building. We do watch how you behave while waiting, while standing in line, while others are performing... all of these things tell us how you will behave during the rehearsal and performance process.
When are callbacks?
Tuesday June 8th or Wednesday June 9th , 2010 . We'll start no earlier than 6:00 PM and end no later than 10:00 PM. The actual time will be determined once we know the number of folks called back.
Do I attend callbacks?
To find out, call the audition hotline (254-4546 x310) after 12 PM Monday June 7nd, 2010 and follow the instructions. If you have e-mail we’ll try to notify you electronically.
What is a callback?
It’s a director’s second look at you and your skills. Especially with the number of people that we will see at these auditions, it is often important to bring back some people for a “second look”. Just because you are not called back does not necessarily mean you were not cast. You may have been perfect for the role the director is using you for and consequently does not need a second look at you. Or if the Director knows your skills very well (perhaps you were in a show with them previously) they may have chosen to see only people with whom they were less familiar to call back.
I didn't get called back; does that mean I'm not cast?
No. You may still be very much in consideration for a role. It just means the director did not need to see you a second time. Everyone who auditions needs to call to hear the cast list after the posted time. You’ll call the hotline twice. Once to see if you’ve been called back, and again after callbacks to see who was cast.
When will you announce the cast?
The target announcement date and time is 5 PM Thursday, June 10th, 2010.
How do I know if I am cast?
Call the audition hotline (254-4546 x310). In addition to the cast list the hotline will also let you know when the first rehearsal will be and what you might need to bring. The recording should also tell you when the next auditions are (if we know the dates already.)
If I am cast, what do I need to provide?
Actors are required to provide appropriate shoes, socks and underwear and all make-up supplies as determined by the costume designer. Make-up kits run $15 to $30. Dress shoes may run between $20 and $60 dollars.
How are parents involved?
It is the parents’ responsibility to ensure their child arrives and departs in a timely fashion from all scheduled activities. In addition, we ask parents to volunteer a minimum of six hours. These volunteers may help with cast crowd control, front door duty, make-up application, or ushering for performances to name just a few. We are searching for the right person to be our volunteer coordinator. Is it you? Be sure to mention your interest to the stage manager or add that tidbit to your child’s audition form.
Technical Positions
As part of our mission to train the next generation of theatre technicians LCT offers the following technical positions on all Discovery productions whether in our home facility or across the street in the Opera House. Click on the position to view a brief description.
Assistant Director
Stage Manager
Assistant Stage Manager
Properties Assistant
Light Board Operator
Sound Board Operator
Costume Construction, Crafts and Make-up
Wardrobe / Dressers
Students must have turned 15 PRIOR to the audition dates for the production. To apply contact Vivian Snipes. Please send your name, contact info, the position for which you're applying and we'll arrange an interview with the appropriate department head.
Assistant Director
Work side by side with a professional director. Focus on blocking, staging, analysis and character development. An extra set of eyes and input. Must be available during rehearsal hours.
Costume Construction, Crafts and Make-up
Work in the costume shop with the Resident Costumer and stitchers to complete all costumes, hair and make-up for a production. Time schedules arranged individually. Must be available during shop hours.
Light Board Operator
Works with the Master Electrician from light hang and focus through recording / design of cues. Runs the HORIZON computer program for performances. Time schedule arranged individually. Must be available for all technical rehearsals and performances.
Properties Assistant
Works alongside the full-time productions staff creating / gathering or pulling all necessary props and set dressing for a performance. May also be required to run properties during a performance depending on show requirements. Time schedule arranged individually. Must be available during shop hours.
Sound Board Operator
Works with the Resident Designer and/or Sound Designer from creating initial lists of cues through recording and playback. Runs mini-disk, cd and/or microphones for a production as required. Time schedule arranged individually. Must be available for all technical rehearsals and performances.
Stage Manager
Mentored by the Production Stage Manager this position is responsible for the efficient running of rehearsals, blocking notation, interdepartmental communication, properties placement, overseeing cast and crew, and smooth running of the show. Must be available during rehearsals and performances.
Assistant Stage Manager
Works side by side with the Stage Manager to accomplish everything listed above. Specific duties will be determined and split with the Stage Manager. Must be available during rehearsals and performances.
Wardrobe / Dressers
This position works with the Resident Costumer to maintain the costumes once they are constructed. Assists with fast changes during performances and laundry and maintenance during the run. Time schedule arranged individually.
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