Urbana High School Presents

March 22 & 23 @ 7:00 P.m.March 24 @ 1:00 & 7:00 p.m.

Directed byStephen Ward

ChoreographerChelsea Humphries

Vocal DirectorLisa Cosby

Pit ConductorDave Franceschina

Urbana High School Drama could not be more thrilled to bring to the stage for 4 performances, the smash musical FOOTLOOSE. Footloose is one of the most explosive movie musicals in recent memory that bursts onto stage with exhilarating results. To the rockin' rhythm of its Oscar and Tony-nominated top 40 score (the soundtrack album reached number one on the Billboard charts and has sold over 15 million copies!) and augmented with dynamic new songs for the stage musical, FOOTLOOSE celebrates the wisdom of listening to young people, guiding them with a warm heart and an open mind. If you have any questions please email me at Stephen.ward@fcps.org

Here are some things you will need to do to audition:1) Sign up for an audition time and date on SIGN UP GENIUS. 2.) Fill out an audition form & commitment contract (provided in this packet) and bring this toauditions.3.) Come to choreography auditions. There is a different process this year for dance auditions. You must come to dance auditions in order to be considered for a role!4.) Keep your schedule open for callbacks on Friday January 19th (Because of the volume ofpeople auditioning, we cannot accommodate individual schedules, so be sure to clear yourschedule in advance! We may not use callbacks at all, but you will be contacted that day if you are needed)

Cast List will be posted on the UHS Drama Website at Uhsdrama.org by sometime Sunday January 21st. The first rehearsal will be Monday January 22nd from 2:30 – 5:30 p.m.

Make sure you work on lines and music provided in this packet !We wish you all the best and look forward to seeing you soon!

Mr. Ward, Mrs. Cosby, Mrs. Humphries, Mr. Franceschina

WHATʼS IN THIS PACKET:Overview of Dates For this ShowHow Auditions WorkKeys to Auditioning and Follow UpDescription of RolesMusical NumbersAudition Scenes(s)Audition MusicUHS Drama Student/Family SheetFootloose Audition FormConflict CalendarStudent / Parent Production Agreement

AUDITION DATESDance Auditions - Tuesday January 16th – 2:30 – 5:30Sing/Acting Auditions - Wednesday January 17th

Thursday January 18th

*You MUST attend the Dance audition day, but you only have to attend ONE of the Singing/Acting Audition Days. There will be a link to a sign up genius on UHSdrama.org Call Backs - Friday January 19th

IMPORTANT NOTES:

Rehearsals are typically 2:30-5:30 (M-F)If cast, you will only need to attend rehearsals for YOUR characterRehearsals begin in January. All Cast Rehearsals are between 3-4 times a week

UHS Audition Packet for FOOTLOOSEIMPORTANT DATES AND INFORMATION Overview

Dance AuditionsTuesday January 16th - 2:30 – 5:30all those auditioning must attend the Dance AuditionsTHERE IS NO SIGN UP GENIUS FOR THIS!

Singing/Acting Dance AuditionsWednesday January 17th 2:30 – 6:00Thursday January 18th 2:30 – 6:00Sign up in half hour group time slots on Sign Up Genius on UHSdrama.org

CallbacksFriday January 19th

Cast List Goes up on UHSdrama.orgBy sometime Sunday January 21st

First Rehearsal – Read Through / Paper WorkMonday January 22nd 2:30 – 5:30

MANDATORY PARENT MEETINGWednesday January 24th 6:00 in the Auditorium or Choir RoomThis is an important time to orient parents (especially new drama families) to the musical process. The Musical is a HUGE undertaking and we need to be sure everyone is on the same page. This is a crucial time to get acquainted with the production staff and to learn what is expected of you as a family. Sign ups for Volunteering will be available on this day.

Rehearsals will be every day (for the most part – refer to calendar in this packet) from 2:30 – 5:30 – and 6ish as it gets closer. However, not everyone will be needed everyday – that won’t be decided until later.

Set Builds every Saturday from 9:00 a.m. – 5:00 ishWe build our sets on Saturdays – cast members are required to devote 2 Saturdays to the process – arrive when they can / stay as long as they can. Parents are highly encouraged to help as well.

Tech SaturdayMarch 17th from 9:00 a.m. - ????

In-School MatineeMarch 21st @ 9:00 a.m.

Show DatesThursday March 22 @ 7:00Friday March 23 @ 7:00Saturday March 24th @ 1:00 & 7:00

Set StrikeSunday March 25th @ Noon *We need all cast and crew on hand to participate in the taking down of the set, clean up, and organizationHow Musical Auditions work at UHS:Sign up for a time slot on EITHER January 17th or January 18th on the sign up genius link on UHSdrama.org - If you aren’t sure where – ask one of the directors! PLEASE NOTE – You will not see a sign up genius for Dance Auditions. There isn’t one BUT EVERYONE IS EXPECTED TO ATTEND DANCE AUDITIONS.

Choreography Auditions:You MUST come to dance auditions on Tuesday January 16th from 2:30 – 5:30. There is only one dance day audition. There WILL be Featured Dancers in this production, so Mrs.Humphries will ask for just the featured dancers to dance after everyone else has performed. Have fun with the dancing and remember this is musical theatre and everything needs to be BIG. – This is a HIGH ENERGY SHOW!!

Singing Auditions:You will be singing along with a pre-recorded piano to ONLY the pre-determined audition pieces! Pick the song that you feel you can perform best, but also if you really want to audition for a specific role, make sure you are performing THAT song. You will only be singing in front of the directors, and Mrs. Cosby may need to check your vocal range. We recognize some of you may be vocally trained. There is more to a singing audition than how well you sing – we are also looking for the emotion.

Acting Auditions:You will be reading scenes from the show with your audition groups. Those scenes are available in this packet. Physicality will be very important, and the better you know the scenes and characters the better you will do. Attention should be paid to the high energy of the show. Memorization is not required, but the better you know the scene, the better your audition. If you are auditioning for a particular role, we make sure you get a chance to read for it-(at least the first one on your audition sheet)

WHAT THE DIRECTORS ARE LOOKING FOR AT AUDITIONS:At UHS we judge each performer on four categories: Acting, Singing, Dancing, and Character.We are looking for the following in each category:Singing: Tone, Note Accuracy, Words/Diction/Inflection, Facial/Body Expression, Overall PerformanceDancing: Keeping the beat, Confidence, Movement, How quickly you pick up choreography, Overall PerformanceActing: Vocal Inflection/use, Facial Expression, Body Expression/Physicality, Personality and Energy, Overall PerformanceCharacter: Respect for directors, Ability to take direction, Leadership, Helping Others, How you have acted/behaved during previous shows.ARE YOU SMILING?

What does that all mean?

Well, come in PREPARED, CONFIDENT, AND PERFORM FOR US. Don’tjust go through the motions - blow us away! And most importantly - HAVE FUN DOING IT ALL AND MAKE IT FUN FOR EVERYONE AROUND YOU

Keys to Auditioning and Follow Up Confidence is absolute key Auditions are to figure out who will fit best in each role, it’s not a talent competition. The directors are

rooting for you to be totally awesome!! Don’t be scared of them or auditioning. Volume – If they can’t hear you, then it’s like you’re not even auditioning at all. Know what you’re auditioning for – read a synopsis, watch it on youtube, or listen to the soundtrack

beforehand. PRACTICE PRACTICE PRACTICE PRACTICE PRACTICE. I will expect you to practice and work

hard in rehearsals, so this audition is a test of that ability. Practice by yourself and in front of others. Practice while walking to school or in the shower. Practice in front of a mirror or in the dark

Do be polite to everyone at the audition – including others who may be auditioning for the same part as you.

Do not have gum (or anything else in your mouth). Do not dress the part. We may not see you that way and it may hurt your audition more than help. Your

audition must show us the character of the piece you are singing or saying. Do be a good sport about casting decisions – You may not fit the director’s concept for this particular

show, but if you’ve made a good impression this time around, s/he may keep you in mind for a future show. Do select your material early and have it fully memorized and dramatically prepared; Don’t cram and run

the risk that audition nerves will short-circuit your memory. Cold reads aren’t expected to be memorized – that is why they are considered “cold.” The directors realize it may be the first time you’ve seen that material.

Do make absolutely certain that you know what you should audition with in terms of length, range, and material. I.e. – don’t come in prepared to sing a song from another show if the audition requires you to sing something from the show you are auditioning for.

Having a bad day? Act like you’re not! People have bad days. They may be sick the day of an audition. I get it. But you’re an actor, so pretend that you’re having the best day ever – Don’t make excuses. Directors can tell if you are sick, etc – and take that into consideration. You may not have the best singing audition – but there is more to an audition than that.

You mess up on one part of an audition? Don’t let it get to you – focus on being the best at all other parts. If you focus on a mess up it is sure to mess you up on other parts.

No one knows the director’s vision – so while you think you may be right for a role – the vision the director has may be completely different – that doesn’t mean you had a bad audition. Only 15% of an audition is in your control.

Understand that just because you got cast in one show doesn’t mean you are guaranteed to be cast in all of them, or because you got a lead role in one show that you are guaranteed to get a lead role in all shows.

Directors prefer to work with those who may have some talent but have a great work ethic to improve and a team player, rather than someone who has an incredible amount of talent but is extremely difficult to work with.

Understand that directors have to pick shows based on the talent they have – but all roles are open. A director can’t select the show Evita if he doesn’t have an Evita. Roles may come down to one, two, or three people, but you are guaranteed not to get a role if you don’t try.

Don’t criticize the shows selected by a director. Yes there are many shows a director could probably select, but it is up to them-they have a reason that you do not know about. If you really don’t like a show choice – don’t audition, or audition and make it the best experience possible. Sometimes the experience as a whole is more memorable than the show itself.

Have fun! That’s what this is all about! Don’t forget to have fun and be filled with extra energy. Show the directors you’ll be a fun energetic addition to the cast.

Follow up –Be a good sport. Be prepared.Remember, an audition for a show isn’t just an audition for that show. You’re making an impression on the Director that could apply to other projects they are working on now or in the future. So even if you’re not right for that part, you want to make a good impression for other shows. Remember, casting is the most difficult job for a director, and they hate disappointing anyone, but Directors watch how you react to not getting cast – and how you handle yourself after. If you don’t get cast? The worst possible thing you can do is criticize the director’s casting

choices, indicate you could have been better than someone else, criticize and complain on social media. You are allowed to be disappointed, but there is a right way to handle disappointment and a wrong way. The way you handle yourself determines whether or not the director would want to work with you again in the future.

LIST OF MUSICAL NUMBERS / CHARACTERS

1. Footloose / On Any Sunday Company2. The Girl Gets Around Chuck, Lyle, Travis, Boy Ensemble, Ariel2a. After “Girl” Chuck, Lyle, Travis3. I Cant Stand Still Ren, Willard4. Somebody’s Eyes Rusty, Wendy Jo, Urleen, Townspeople5. Learning to Be Silent Vi, Ethel6. Holding out For a Hero Rusty, Urleen, Wendy Jo, Girl Ensemble7. Somebody’s Eyes Reprise Rusty, Wendy Jo, Urleen, Chuck, Lyle,

Travis8. Heaven Help Me Shaw9. I’m Free / Heaven Help Me Ren, Shaw, Company

- - -

10. Still Rockin Cowboy Bob11. Let’s Hear it For The Boy Rusty, Ensemble Girl, Female Dancers12. Can You Find It In Your Heart Vi13. Dancing is Not a Crime Ren, Willard, Bickle, Jeter, Garvin14. Mama Says Willard, Garvin, Bickle, Jeter, Boys15. Mama Says Encore Willard, Garvin, Bickle, Jeter16. Almost Paradise Ren, Ariel17. Heaven Help Me Reprise Shaw18. After Heaven Reprise Shaw, Choir19. Can You Find It In Your Heart Shaw20. Footloose Company

AUDITION SIDE #1#1 Ren / Wes / Ethel / LuLu

(The Warnicker Home. Ren is standing before WES, LULU, ETHEL)

WESDo you know how hard it was for me to get you that job at Dillingham’s Hardware store? It’s not even a month and you get fire!

LULUEvery day it’s more bad news with you. Every day.

ETHELDon’t exaggerate, Lulu!

WESEthel, Now hush! You’re not helping things.

ETHELRen? What did happen?

RENNothing I should be fired for! Willard came by the store, and he wanted change for a dollar, so I popped open the register. And when Mr. Dillingham came out and saw my hand in the drawer, he went crazy. He accused me of stealing.

LULUThat’s because everything you do makes people suspicious.

WESAre you on drugs?

RENNo! But why don’t you frisk me? I’m sure you’ve already poked through everything in my room.

ETHELRen! Apologize to your uncle.

WESLook, young man, I know that I’m not your father…

RENYou can say that again!

(Wes slaps REN. Lulu Gasps)

ETHELWes!

WESDon’t say anything, Ethel.

ETHELI can’t not say anything! I don’t know how to do that, Wes.

LULUPumpkin, hush, please!

ETHELWes, I realize that we are guests in your home…

WESEthel!! (That stops her!) Right now, just don’t say anything.

AUDITION SIDE #2#2 Ren / Willard

WILLARDHey, mister! You bumped me!

RENSorry.

WILLARDDon’t you ever look where you’re goin?

RENI said I was sorry.

WILLARDHey, You’re that new guy from Chicago, aint’cha?

RENPerhaps.

WILLARDSmart-ass, huh? Listen, fella, around here you push somebody…they push back…Next thing you know, you got (Get’s confused; forges ahead)…two people pushing. Get it?

RENGot it. Lemme ask you something. They sell men’s clothes where you got that hat? (Pause).

WILLARD(Suspiciously) What is that, some kind of stupid joke?

RENNo. That’s a really good joke.

WILLARDThat’s it man…I’m gonna kill you!

(He raises his dukes to Ren, who throws himself at Willard’s fists)

RENOh, please kill me!

WILLARDHuh?

RENKill me, Kill Me! That’s the most exciting thing I’ve heard since I hit town. Ren McCormack. And you are…

WILLARDWillard. Willard Hewitt.

RENWillard, what do you do around here for a good time? (Willard hesitates, then makes a lewd gesture). Yeah. Besides that. You have any clubs?

WILLARDNope

RENWhat about movies?

WILLARDNope

RENWhat about malls?

WILLARDNope.

RENWhat about…

WILLARDNope Nope and Nope.

AUDITION SIDE - #3Ren / Ariel

(Under a train bridge)

ARIELAhhhhhhhhhhh

RENWhoa! It’s a free-fall into the river from up here. Are you out of your mind!

ARIELYou noticed.

RENWhat’re we like forty feet about the water?

ARIELBut look around: up here I can pretend I’m halfway to heaven.

RENWhoa! This place is covered with graffiti

ARiELIt's not graffiti! It’s poetry! I call this place, “My Diary.”

RENYou climb all the way up here and write poems?

ARIELUh-huh. They’re all dedicated to Bobby.

RENBobby? Who’s Bobby?

ARIELMy brother.

RENYou never told me you had a brother.

ARIELHad a brother. Bobby was one of the four kids who went off the Potawney Bridge.

RENOh god, I’m sorry

ARIELYep…one of the (A la Shaw) “four young people who helpd the promise of Bomont’s brightest future.”

RENWhy didn’t I know this

ARIELWe never talk about it. And once Daddy decided the town needed saving, he never mentioned Bobby again.

RENYou must miss him real bad.

ARIELI try not to think about it.

RENThat never works. I’ll bet you think about it all the itme.

ARIELHow did you know that?

RENI study you.

ARIELOh yeah? What do you see?

RENSomebody who’s smart

ARIELThank you.

RENMaybe a little angry.

ARIELMaybe a lot.

RENAnd somebody who’s sad. (Beat) I always wondered where that came from.

ARIELNow you know. (Goes to speak but stops herself)

RENWhat?

ARIELI’ve never felt like anyone’s ever stopped to really look at me.

RENOh no…you’re in my mind, twenty-four hours a day.

AUDITION SIDE #4Ren / Shaw

(Shaw is in Prayer as REN Enters)

RenCongratulations!

SHAWCan I help you, Mr. McCormack?

RENFrom the look on your face, I could ask you the same thing.

SHAWThis was not a pleasant evening for any of us.

RENBy the way, why did you fix tonight’s voting?

SHAWWhat?

RENBefore the meeting, did you already know how the town council was going to vote?

SHAWRen you are too young to understand what dangers exist in this world.

RENMaybe. But you haven’t answered my question

SHAWRen, this is more than a question of dance.

RENIt is, isn’t it? I mean for you and for me. Reverend, I didn’t just want to throw a party.

SHAWWhat did you think you were doing then?

RENWhen I came here, to this town, I felt like my life was over. Maybe I needed to feel I could do something, like I could change things. Reverend, I’m sorry. I guess I just picked the wrong fight.

SHAWThen you will finally drop this?

RENHey, the voted are in. That’s been done for me.

SHAWYes it has. Now, if you will please excuse me…

RENBut just one more question, sir. Does that make things better? I mean, really?

SHAWYou don’t stop do you?

RENReverend, I know about your son.

SHAW(Angry) YOU KNOW NOTHING ABOUT MY SON!

RENYou’re right. I only know that there was a car crash. And I know that doesn’t make any sense.

SHAWAnd I don’t ask for it to make sense. I believe in the will of God.

RENBut if you miss your son as much as I still miss my dad, it’s gotta hurt. I keep trying to bring Dad back. A hundred times every day. But I can’t, y’know?

SHAWI know only too well.

RENI can see that. And you know what? Ariel sees it too. Maybe better than anybody.

SHAW(Stern) Don’t speak to me about my daughter! Mr. McCormack, I would like to be alone…

RENYou already are.

SHAWGet out of here! Get out!

AUDITION SIDE #5Ariel / Vi / Shaw

(Classical music is playing; SHAW Is writing; Vi prepares dinner – Ariel pulls herself together and walks in.

ARIELHi, Daddy. Mom!

VIAre you hungry?

ARIELI’m starving. A-ha what’s this? Don’t tell me – Haydn. The second sonata?

SHAWThe fourth.

ARIELNumber four, right. I guess that kind of music’s okay, huh, Daddy?

SHAWMeaning…?

VIShe’s just making a joke Shaw.

SHAWI’m aware. This kind of music is uplifting. It doesn’t confuse the mind.

ARIELAre you working on your sermon?

SHAWI am.

ARIELRemember when I was a kid? On Saturdays, I would sit in a pew down front and listen to you practice. Over and over.

SHAWI do indeed.

ARIELAnd I would clap. And you would bow. Remember?

SHAWWell you seem to have outgrown that.

VIShaw

ARIELWhat just happened. Did I say something wrong?

VIYour father’s had a difficult day.

SHAWVi, I can speak for my self.

VIHoney, why don’t you set the table.

ARIELI’m not hungry

VIShaw, if you’re angry with Ariel, please tell her why.

SHAWI’m not angry, I’m concerned. Have you seen her with this Chuck Cranston? The last time I walked in on the two of them…

VIYou told me.

SHAWThe boy has a record of arrests, Vi.

VIAnd the more you object, the more intrigued she’s going to be. Shaw…You can’t expect her to sit home with us all the time.

SHAWLet’s stop this conversation right here.

VIConversation?

SHAWVi….

VII seem to have walked in on one of your sermons.SHAWPlease! Let’s not say anything we might regret.

AUDITION SIDE #6Ariel, Wendy Jo, Rusty, Urleen, Willard

RUSTYAriel, your book report is so great! I almost wish I’d read the book.

URLEENHurry up Rusty. I have to copy it next.

RUSTYhow do you pronounce this word?

ARIEL“Camelot.”

URLEENReally?

RUSTYyou know what part sounds great?

WENDY JOI like the part where King Arthur and Lancelot fight over Guinevere. It’s right after Morded shows up and says, “I’m the king. I’m the king!”

URLEENYou read a book?!?!

WENDYCliff notes. It took me forever.

ARIELIt’s even better in the book. There’s all these knights on horseback jousting and storming the castle.

RUSTYAll we get are guys in overalls riding pickup trucks.

WENDY JOHi, Willard.

WILLARDHi, how you all doin?

ALLOh you know…okay…good..

WILLARDHey Rusty…

RUSTY (exciting but trying to hide it)Hey, Willard

WILLARD(Long awkward pause) Well, see ya

URLEEN“Hey Willard,” That’s it?

WENDY JOYou two are pathetic.

ARIELWhen are you two going to have a real conversation?

RUSTYOh, Willard is not capable of a real conversation.(BEAT)I kinda like that in a guy.

AUDITION SIDE #7Ren / Ariel / Chuck

CHUCKAriel? What the hell’s goin on? We had a date a half an hour ago.

ARIELChuck, I’m sorry

CHUCK(Grabs Ariel)I don’t like you making a fool out of me.

RENWill you be joining these ladies for dinner?

(Chuck turns to REN, looks him up and down, and then contemptuously pushes him backward. CHUCK grabs ARIEL by the arm and pulls her to one side)

CHUCKWhen I say “meet me at eight,” what – am I talking to myself?

ARIELNo. You’re right. Calm down honey!

CHUCKDon’t tell me to calm down! Don’t ever tell me what to do. I know what your friends think of me. And that’s bullshit. I’m the best party in this town baby, and those three dogs oughta be tied up under the porch. Let’s go

ARIELNo.

CHUCKGet in the truck!

ARIELNO!

CHUCKExcuse me?

ARIEL

I said, “No.” What part of that don’t you understand

CHUCKOh when the preacher’s daughter says, “no,” it just makes me hot. Say it again, baby.

ARIELLeave me alone, Chuck! Don’t

RENI believe the lady said, “No.”

CHUCKAnd I believe this is none of your business

ARIELRen…don’t

CHUCKAriel, who invited this clown.

RENOh I’m sorry! We’ve never been formally introduced – Ren McCormack. (Extends his hand at CHUCK’s eye LEVEL).

CHUCKGet your hand outta my face. And get your face outta my sight.

Urbana High School Drama Student & Family Information 2017-2018Name (first & last) ____________________________ grade 9 10 11 12 (circle)

Student’s e-mail address ________________________________________

Student phone ____________________

Mother/guardian name _________________________________________address____________________________________________________city _______________________ state ________ zip _______________phone _________________________Mother’s e-mail address ____________________________________

Father/ guardian name _________________________________________address_________________________________________ (ONLY if different)city _______________________ state ________ zip _______________phone _______________________Father’s e-mail address _____________________________________

STUDENT CLASS SCHEDULECOURSE TITLE TEACHER’

Block 1

Block 2

Block 3

Block 4

FOOTLOOSE Audition Form(If you have a headshot or school photo, please attach to this audition form – if not we may need to

take a picture of you)

Name ___________________________ Gender______ Grade________

Height______________ Hair Color _________ E-mail address ________________________________

Home Phone ____________________ Cell Phone _____________________

SONG YOU WILL BE SINGING: _________________________________________

Top 3 Desired Roles you want to audition for (in order of most desired)

1.2.3.

Is there a role you don’t want to be considered for? ________________Do you ONLY want to be considered in an ensemble role? Circle: Yes or NoIf you do not receive any of the above, would you be willing to be cast in another part? Yes________ No_____

Are you able to insure reliable transportation to and from all rehearsals and performances? ______

Some roles may dictate that an actor change his/her appearance. If the role requires would you:

Cut / grow hair: ________ Dye Hair: ________ (If male) Cut/Grow Beard or Moustache: _____

If you do not get a part, would you be willing to work in any of the following production areas? Stage Crew? ______ Tech Crew________ Set Construction/Design_______Publicity? __________ Costumes? _______

Recent relevant acting/musical experience:_________________________________________________________________________________________________

DATES / CONFLICTSOn the attached calendar, please mark your conflicts . An X indicates that you are not available at all on that rehearsal day. If you are only available for a portion of time on a particular day, please indicate the hours that you are available. Leaving the space blank means that you are available to rehearse that day. Shaded boxes indicate that we will not have rehearsal that day. Not everyone will be needed on every rehearsal day but your availability is considered during the audition process. If you are absent on more days than your schedule indicates (minus sickness), you may either be removed from song/scene rehearsed that day and/or removed from the show if it becomes a problem. Inform Mr. Ward of Tutoring ahead of time.

Please take the rehearsal schedule and your commitment to it seriously. Please do not schedule classes, jobs or appointments during rehearsal AFTER you have accepted a role—attendance (or lack thereof) at rehearsals can affect casting at any time in the production period. If you miss too many rehearsals, your role may be changed or eliminated. Your directors and co-cast members need you at every rehearsal you arescheduled for. Stay healthy, and plan ahead on projects and papers. The tight schedule andwinter weather give us enough challenges. Do not unnecessarily add to them.

FOOTLOOSE CONFLICT CALENDAR

Student Name ________________________________

You will NOT be asked to attend every rehearsal (depending on role). Your availability, however, is considered during the audition process.

Sunday Monday Tuesday Wednesday Thursday Friday SaturdayJan 16FootlooseDance Auditions

Jan 17FootlooseSing/ActAuditions

Jan 18FootlooseSing/ActAuditions

Jan 19Callbacks

20

21 222:30 – 5:30

232:30 – 5:30

24Parent Mtng

2:30 – 5:30

252:30 – 5:30

26 2hr Dis.1:00 – 4:00

27Set Build 9-5

28 29 302:30 – 5:30

312:30 – 5:30

February 12:30 – 5:30

22:30 – 5:30

3Set Build 9-5

4 52:30 – 5:30

62:30 – 5:30

72:30 – 5:30

82:30 – 5:30

92:30 – 5:30

10Set Build 9-5

11 122:30 – 5:30

132:30 – 5:30

142:30 – 5:30

152:30 – 5:30

16 2 hr Dsm1:00 – 4;00

17Set Build 9-5

18 19 202:30 – 5:30

212:30 – 5:30

222:30 – 5:30

232:30 – 5:30

24Set Build 9-5

25 262:30 – 5:30

272:30 – 5:30

282:30 – 5:30

March 12:30 – 6:00

2 2 hr Dsms1:00 – 4:00

3Set Build 9-5

4 52:30 – 6:00

62:30 – 6:00

72:30 – 6:00

82:30 – 6:00

92:30 – 6:00

10Set Build 9-5

11 12 13 14 15 16 17

2:30 – 6:00 2:30 – 6:00 2:30 – 6:00 2:30 – 6:00 2:30 – 6:00 9:00 - ????Tech Saturday

18 192:30 - ????

202:30 - ????

21Matinee9:00 a.m.

22Show@ 7

23Show@ 7

24Show @ 1& 7

25MandatorySet Strike

STUDENT & PARENT PRODUCTION AGREEMENT Bring this form with you to auditions

Dear Students & Parents/Guardians,

I am thrilled to have your student auditioning to join the cast or crew of this production. I know that having a student involved in the production, means parents are also part of the production. The audition packet contains many very important pieces of information, and I strongly request that you look through it so that there are no surprises about the schedule, casting or expectations for students as we get into the process. THIS CONTRACT DOES NOT GUARANTEE YOUR CHILD WILL MAKE THE SHOW.

Please sign below to indicate acceptance of the following:

• I have looked at the rehearsal calendar and to the best of my knowledge, all conflicts were listed on the form as accurately as possible. Attendance at rehearsal is a must. While we understand that family commitments come up, appts, etc. we must hold everyone accountable. Three unexcused absences from rehearsals (not indicated on calendar – not tutoring), may result in the removal of the show. Parents/students also understand they may not be in featured songs/dances if they aren’t at those rehearsals.

I understand this is an ensemble piece and that attendance is vital, and I will do my very best to make sure additional conflicts avoid rehearsal times.

• I have read the casting policy and production contract and understand the requirements for participation in the show, including expectations for attendance and conflicts.

• I (student) have indicated honestly on my audition form which roles I am willing to accept.

• I (student) agree to abide by the requirements set out in the production contract, including following expectations for academic standing, school attendance, rehearsal attendance, behavior and commitment.

• I (student) want to be part of the cast or crew for this production!

• I (parent) have spoken with my child about the commitment involved in joining this production and he/she is prepared to meet the expectations outlined in this packet.

Parent/Guardian Name: _________________________ Signature: _______________________________ Date: _________

Student Name: _______________________________ Signature: ________________________________ Date: _________