Tomorrow on 14th March we have audition for "The Last 5 Years Musical" where we have to prepare a 32 bar cut of a modern / contemporary musical theatre song. We can use just sheet music, no backing tracks. Also we have to prepare a short document detailing why we chose this song than another song and why we are ideal for the role you are auditioning for. Furthermore we have to be aware of a short cold read from the script.
Here I'm pasting short description of this musical so you will know what the story is about :
Cathy is sitting alone lamenting the end of her marriage ("Still Hurting"). We shift to meet Jamie. It is five years earlier and he has just met Cathy. Jamie is overjoyed to be dating outside his Jewish heritage ("Shiksa Goddess").
Cathy and Jamie are in Ohio. It is her birthday and he has come to visit her as she works in a show there ("See I'm Smiling"). She is anxious to fix any problems in their marriage but she becomes angry when Jamie tells her he has to go back early to New York. During breaks in the music, we see a younger Jamie, talking to a literary agent about his book.
Jamie is moving in with Cathy. He comments on how lucky he is that everything is going right for him; his book is being published and his life with Cathy seems too good to be true ("Moving Too Fast"). Elsewhere an older Cathy is making a call to her agent: it seems her career isn't going the way she planned it.
Cathy is attending Jamie's book party. She sings about how he ignores her for his writing but she will always be in love with him ("I'm a Part of That").
Jamie and Cathy celebrate their first Christmas. He tells her a new story he has written about an old tailor named Schmuel and he gives her a Christmas present: a watch, promising to support her as she follows her dreams of acting. ("The Schmuel Song").
Cathy is in Ohio and writing to Jamie. She describes to Jamie her disappointing life in Ohio among her eccentric colleagues ("A Summer in Ohio").
Jamie is sitting with Cathy in Central Park. Jamie proposes to her and, for the first time in the musical, they sing together ("The Next Ten Minutes"). They get married, exchanging vows to stay together forever.
Jamie is facing temptation from other women, especially now his career as a writer has escalated ("A Miracle Would Happen"). Cathy, meanwhile, is auditioning for the job in Ohio ("When You Come Home to Me"). She is getting down about the rejection she faces as an actress and complains to her father ("Climbing Uphill").
Jamie speaks to Cathy on the phone, trying to convince her that there is nothing going on with him and his editor, Elise. He wants to celebrate a book review but Cathy refuses to go out.
Jamie is fighting with Cathy, trying to get her to listen to him. He accuses her of being unsupportive of his career just because hers is failing. Though his words are harsh, he promises her that he believes in her ("If I Didn't Believe in You").
A younger Cathy is in the car with Jamie, who is going to meet her parents. She tells him about her past relationships and hopes not to end up in a small town life like her friend from high school ("I Can Do Better Than That"). She asks Jamie to move in with her.
Near the end of the relationship Jamie wakes up beside another woman ("Nobody Needs to Know"). He tries to defend his actions and blames Cathy for destroying his privacy and their relationship. Jamie promises not to lie to this woman and tells her, that "I could be in love with someone like you," just as he does to Cathy in "Shiksa Goddess."
Cathy is ecstatic after her first date with Jamie. She sings goodbye ("Goodbye Until Tomorrow"). She proclaims that she has been waiting for Jamie her whole life. Simultaneously but five years forward, Jamie sits in their shared apartment writing laments over the relationship ("I Could Never Rescue You"). As Cathy waves Jamie "goodbye until tomorrow", Jamie wishes Cathy simply "goodbye".
For this audition I choose song from Dog Fight Musical called "Before its over"
I chose this song because I think it is appropriate for this musical piece. I think this because this song is about hope, even if life is very hard and brutal, the song put's a message across to the audience to never stop fighting and moving on. I think the song relates to our musical because there is a reference in the musical that the main actress' (Cathy) career is falling apart as well as her marriage, she is taking a divorce with her husband. She hopes that her acting career won't fall apart and that she's able to be successful and sort her private life out. I also think that it can show my vocal range e.g. high pitch (especially in the main chorus).
For this Monday we have to prepare two traditional (i.e. “legit”, “golden age”, pre-1960) musical theatre selections. Each selection should be 16 bars or approximately 30 seconds , we cant use backing tracks.
Also we have to prepare a short movement piece, no longer than 1 minute. This piece should be highly influenced by Vaudeville, Mime, Jacques Lecoq, etc. It should embody the world of Mack & Mabel. No vocalizations can be used during this movement piece.
To give us a better understanding of our rationale, we need to provide a short written document describing, explaining, & analysing the suitability of your chosen audition materials (songs & movement pieces.) Also we should to include a short synopsis of your movement piece.
First I will give you short description of Mack and Mabel Musical:
Mack and Mabel is a musical with a book by Michael Stewart and music and lyrics by Jerry Herman The plot involves the tumultuous romantic relationship between Hollywood director Mack Sennett and Mabel Normand(transformed from an artist's model to a waitress from Flatbush , Brooklyn for the musical), who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops to Mabel's death from tuberculosis in 1930.
The original 1974 Broadway production produced by David Merrick starred Robert Preston and Bernadette Peters. It received eight Tony Award nominations, including Best Musical, but did not win any. There was no nomination for Jerry Herman's score. Although the original production closed after only eight weeks, the songs were praised, and subsequent productions, especially in Britain, have had success.
Synopsis
Act I
Silent movie director Mack Sennett returns to his old film studio in Brooklyn in 1938. Things have changed considerably since he was last there—he sees a group of actors shooting a scene for a talkie. Mack reminisces about "when he ran the show", the glorious era of silent movies, thinking of his Bathing Beauties and Keystone Cops ("Movies Were Movies").
In a flashback, it is 1911. When Mabel, a delicatessen worker, delivers a sandwich to Lottie, the actress that Mack is filming, Lottie is unable to pay, and Mabel reacts violently. Mabel's dramatic behaviour catches Mack's eye, and he thinks she has potential as an actress. He offers her a part in his next film. She initially refuses, but when she looks back on the offer, she is dazzled by the career prospects ("Look What Happened To Mabel").
Mabel is very successful and becomes a major star. Later, along with Mack's two accountants, Kleiman and Fox, who are helping to finance his projects, the film company moves to a new, larger studio, in California. Lottie and the rest of Mack's film crew, who include the comedian Fatty Arbuckle, eagerly fantasize about moving up in the world, ("Big Time"). Meanwhile, Mabel has become attracted to Mack. While she is reciting an improvised poem, Mabel invites him into her train compartment for a meal. Things escalate, and Mabel persuades a very reluctant Mack to take part in a mock wedding ceremony. But Mack has no time for romance ("I Won't Send Roses"). He and Mabel sleep together, but Mack wakes up horrified and leaves in a hurry. Mabel, now in love with Mack, resolves to do things his way ("I Won't Send Roses" (Reprise)).
Eventually, Mabel wants to move on from comedy and star in serious dramas. But Mack is only interested in comedy ("I Wanna Make The World Laugh") and tries to discourage her. Mabel meets another movie director, the smooth-talking William Desmond Taylor , who is instantly attracted to her, and agrees to feature her in serious films - he invites her to dinner to discuss arrangements. Mack tries in vain to discourage her. After an argument, Mabel dresses in her best clothes and puts on make-up, then goes off not only for her appointment with Taylor, but for good, as she never wants to see Mack again ("Wherever He Ain't"). Mack is confident that he can manage without Mabel: he made a star out of one ordinary girl, and he can make a star out of another. With this in mind, he immediately comes up with the concept of the Bathing Beauties ("Hundreds of Girls").
Act II
Mabel eventually returns to Mack of her own accord and is welcomed with open arms by the entire film company ("When Mabel Comes In The Room"). Mack is so glad to have her back that he agrees to film Mabel's new, serious drama, "Molly", at his studio. But he can't help himself - comedy is his nature. He attempts to jazz it up with a new comic creation, The Keystone Cops ("My Heart Leaps Up"), and Mabel returns to Taylor. Later, Mack sees Mabel again as she is preparing to embark on a ship with Taylor. Taylor shows up and Mack leaves. Taylor, sensing that Mabel might still have feelings for Mack, persuades Mabel, who is complaining of tiredness, to take heroin, saying it is a pick-me-up, which works with the magic words, "Bye, Mack!". Mabel is heartbroken by everything Mack has done to her, but is confident that she will eventually forget him ("Time Heals Everything").
Back at the studio, a happy Mack has realized the potential of sound in his movies, with singing and dancing. Lottie Ames, another actress in Mack's company, has become a star, but Mabel has become a full-time drug addict ("Tap Your Troubles Away"), and her reputation is ruined. To add further to the tragedy, her lover, William Desmond Taylor, is murdered, and she is the prime suspect. By the time Mack is willing to try to patch things up between him and Mabel, it is too late - she has died. But musicals must end happily, so Mack imagines a happier ending to their story ("I Promise You A Happy Ending").
Characters:
Mack Sennett— An obsessively hard-working movie director
Mabel Normand— A deli delivery girl who becomes a movie star. Sennett reluctantly becomes romantically involved with her.
William Desmond Taylor — A "serious" director, and rival for both Normand's acting talents and her affections
Kleiman — An accountant
Fox — Kleiman's partner
Frank Wyman — An actor/writer, and later a director
Lottie Ames — A silent movie star
Subsequent revisions of the show have changed some character names to their real life counterparts from the era.
Frank Wyman - Frank Capra
Fatty - Roscoe "Fatty" Arbuckle
Kleiman - Adam Kessell
Fox - Charles O. Baumann
*Information took from :www.wikipedia.com
Here I'm giving you my songs proposition which I will sing this week:
1)"I know where I've been"- Hairspray Musical
2)"Big Spender"- Sweet Charity Musical
My comments: I think this musical is quite sad and dramatic but nice at the same time . I like the story even if is embroiled, especially if we talk about Mabel's returns to Mack. But generally I have really good first feelings/impression about this musical.
As I said above this time for audition mock we had to prepare 2 songs and
movement piece. I chose songs from Sweet Charity Musical called "Big
Spender", and Hairspray - "I know where I've been". Those songs
are completely different: in styles, genre, composition and background, that's
why I chose them . In these songs I want to show my vocals in two different
ways and moods. I think these two songs can show all my acting skills, range,
truthfulness, imagination about the song and background. I think those songs
can show my best confidence on stage and how easily I can play around with
them. I think these two songs are appropriate to this musical because they have strong characters with different survival luggage's for the last past tense. Also they show strong and emotional sides of the characters as is e.g. Mabel. She knows what she wants and what is she fight for . I think these two songs reflect very good Mabel character in each of her aspect that's why I think they are appropriate for this particular musical.
For the movement piece I did some research and I decided to
do this in mime style. I read some information on the internet and I watched
some videos on YouTube to get ideas on how to start this project. I knew a
bitabout this style before but not that
much, now I improved my knowledge about this topic which helped me to create my
piece/short performance. I created a piece which is about my mornings and
difficult journey from home to college. I will show my routine which I do when
wake up and before I go out to college. That's one part of my story and another
one is my journey from home to college. I think this piece movement is appropriate for this musical because always movie/musical theatre stars are busy ,especially in the mornings when they have to quickly go to work, be on time everywhere, do they work properly and manage many different/important things around. Also these piece allowed me to see and empathize how is hard to be that kind of super star as Mabel was in this Musical. Also allowed me to "lick" of her world and how she could feel when everything was on her head .So this movement piece is great example of that kind of situation I think, even If I was based on my real life.I really had fun with that whiledoing this at home and I think it was a good
opportunity to try to do something different than previously.
In this week we have to prepare 32 bars of an appropriate musical theater songs. Sheet music must be cello-taped. Starts, stops, and cuts must be clearly
marked. Also we have to create a classical monologue, no longer than 1 minute. The monologue should contrast your song and
embody the character that you would like to audition for. It is also required to make a short video describing, explaining, and analysing the suitability
of your chosen audition material for this audition.
The title of my monologue is 'Hera and Zeus' taken from 'Dialogues of the Gods'
HERA: You should be ashamed of yourself!
Lord of the gods! Hah! Your behavior wouldn’t be proper even if you were
some mortal peasant! You desert me, your lawful wife, and go carousing
with mortal women at all hours of the day and night with no
consideration for my feelings! It’s not respectable! At least those
sluts of yours remained on Earth, while you’ve brought this youth from
Ida into my own house! He actually lives with us! I have to pick up
after him! Oh, I’ve seen how you take the cup from him! Everyone sees!
It’s embarrassing! Even when you’re not thirsty! After tasting, you hand
the cup back and insist that he drink too, then you receive it again,
all googly-eyed, making sure to take the remainder from the spot where
the boy has placed his lips so you can drink and kiss at the same time
in front of us all! Do you really think we’re so dim-witted that we
can’t see it?! And this morning, I actually witnessed you, the King and
father of the universe, with that big beard you’ve grown, lay aside your
aegis and thunderbolt to play a game of marbles with the boy! You’ll take any excuse to get close to
him, and don’t think that I don’t see it! Zeus, King of the Gods—a
pedophile and a degenerate!
Dialogues of the Gods are 25 minutes dialogues mocking the Homeric conception of the Greek Gods written in Attic Greek by Syrian author Lucian of Samosata
The title of my song is 'Don't cry for me Argentina' taken from 'Evita'.
[Eva:]
It won't be easy, you'll think it strange
When I try to explain how I feel
That I still need your love after all that I've done
You won't believe me
All you will see is a girl you once knew
Although she's dressed up to the nines
At sixes and sevens with you
I had to let it happen, I had to change
Couldn't stay all my life down at heel
Looking out of the window, staying out of the sun
So I chose freedom
Running around, trying everything new
But nothing impressed me at all
I never expected it to
[Chorus:]
Don't cry for me Argentina
The truth is I never left you
All through my wild days
My mad existence
I kept my promise
Don't keep your distance
And as for fortune, and as for fame
I never invited them in
Though it seemed to the world they were all I desired
They are illusions
They are not the solutions they promised to be
The answer was here all the time
I love you and hope you love me
Don't cry for me Argentina
[chorus]
Have I said too much?
There's nothing more I can think of to say to you.
But all you have to do is look at me to know
That every word is true
"Don't Cry for Me Argentina" is a song recorded by Julie Covington for the 1976 concept album, Evita, and was later included in the 1978 musical of the same name. The song was written and composed by Andrew Lloyd Webber and Tim Rice while they were researching about the life of Argentinian leader Eva Perón.
It appeared at the opening and near the end of the show, initially as
the spirit of the dead Eva exhorting the people of Argentina not to
mourn her, and finally during Eva's speech from the balcony of Casa Rosada. Covington was signed by the songwriters for the track, based on her previous work in musicals.
I am linking a video of me explaining why I chose the monologue and the song.
