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"Man of La Mancha"

Cast is set...again!

May this be a wonderful journey for all of you as your rehearsals start this week.

Fondly,
Julia



FAQ

* All local hire LA contracts.

* Equity contract for Pedro/Muleteer replacement

* “Man of La Mancha” is set in a rough and ruthless world, so character types are encouraged to audition.  This is a dark piece with an edge.

* THIS IS A BIG VOCAL SHOW. Please be sure to look over the character breakdown below.

* You must be available for both productions: Valley Performing Arts Center and La Mirada in order to be considered.



DATES AND CONTRACTS:

Valley Performing Arts Center:
Dates: Rehearsals @ La Mirada Rehearsal Hall: 4/18– 4/30.
Rehearsals @ VPAC April 30th-May 5th.
Matinee/Evening Performance @ VPAC: Sat, May 6 Closing Performance @ VPAC: Sun, May 7 -
Salary: Equity $815 weekly. Non Equity: $500 total.                                    


La Mirada Theatre for the Performing Arts:
Dates: Rehearsal: 5/30-6/3  Open: 6/3  Close: 6/26
Contract
: COST contract. Equity - $815 weekly and Non Equity $1,000 total.

Please clear any/all conflicts with casting via email info@Florescasting.com before you submit your video or confirm your audition.

AUDITION DATES/LOCATION/WHO WILL BE THERE:

Monday, 4/3: Producer Callbacks By Invitation only.
Location:
La Mirada Rehearsal Hall 15519 Phoebe Avenue La Mirada.
Plenty of parking in front and on street.
Who Will Be There:
Tom and Cathy McCoy: Producers
BT McNicholl: Producer
Director: Glenn Casale
Choreographer: Patti Colombo
Music Director/Accompanist: Jeff Rizzo
Casting Director: Julia Flores
Reader/Casting Assistant: Kelley Dorney
Assistant Choreographer: Jenna Wright

AUDITION CONFIRMATION:

Once you have read through all details here, please confirm via email Info@Florescasting.com

Appointments should be confirmed before 1pm on Friday, 3/31.

Please bring your picture and resume with you to your audition, even if you think that we may already have one.

Please bring your music book with you as well.
Thank you!

CHARACTER NOTES:

GENERAL NOTE:
This world of is not a "performance" or "musical theatre" world. Approach the material from a grounded and honest place. Heart first and then the bells and whistles. These characters must be real humans in order for the show/story to be a success.

Glenn Casale is directing. He's super smart, super fast and an amazing storyteller. He likes his actors the same way. We come into these sessions prepared after having done our homework and we expect the same of you. Be specific, make choices, stay present and have fun really diving into this world and these roles!



ALDONZA:
Aldonza has long lost her "softness" and any vulnerability. Yes. there are moments with Quixote later when she allows herself a wee bit of hope, but that's under a whole mess of suspicion and doubt. The harder her shell, the more poignant it is when Quixote breaks through. She's a broken and lost soul through and through.
She calls herself a whore...this is not Disneyland.



ANTONIA:

Jeff Rizzo (our MD) would like Antonia’s “Woe….oh” on the second page to have a very forward placement. Basically a mix, as it’s too high to full on belt.
It should be on pitch, but unpleasant. Think Idna Menzel at the end of Defying Gravity.

She is more than just a "woe is me" ingenue. She needs this marriage to Carrasco so the scene is more about making sure that the plan stays in place rather than her "distress".


SANCHO:

Our Sancho is not a clown or cartoony Sancho, but real, funny, sweet, endearing guy Sancho. He admires, respects and adores Quixote as a brother, friend and mentor, He is quite literally risking his life for Quixote. Their connection is genuine and real so Sancho needs to be as well.

He is likable and affable yes, but he is grounded, sincere and real. Sancho is funny because he is so gosh darn adorable and has no idea how funny he is...they are like throw away lines almost. Also, he listens to every word out of Quixote's mouth as though it were gold. What Quixote says and what Quixote wants matters a great deal to Sancho, so let the pictures Quixote paints land. Really take the time to see the adventures that lie before them. Looking for the sincerity and connection with Quixote.


THE BARBER:
The Barber has a true love and passion for his job. He is charismatic and the best salesman around. He could (and does) charm the leaves off of the trees. Great sales pitch, but not in a slimy way. Smart and charming survivor.




AUDITION MATERIAL/WHAT TO PREPARE:

DROPBOX LINK FOR MATERIAL:
https://www.dropbox.com/sh/mmi8tuc2glrufdv/AABWMbRyH0eBmjObmdlwtthia?dl=0


ALDONZA:
To Read:
Pages 50-52 scene before "Impossible Dream". STOP AFTER "THAT FOR YUR QUEST"

To sing:
"Aldonza" pages 113, 114, 155 start pickup to letter I (2nd verse) to end.
FROM SCORE: PAGES 126 AND 127. PICK UP TO LETTER E TO THE END.

We can cast an actress with a lower range. Additional sheet music is now posted in the Dropbox link.


CERVANTES/DON QUIXOTE:


To Read
:
Pages 8 and 9 monologue
Sancho and Quixote scene page 10-12

To Sing
: “Impossible Dream”. 78 - 80 (Start letter B and end the bar before letter E) 


SANCHO:
To Read:
Sancho and Quixote scene page 10-12

To Sing
: “I, Don Quixote” 16 & 17 (start letter F and end the bar before letter H)  


GOVERNOR:

To Read
:
Pages19-20
To Sing
: As the Innkeeper: “The Dubbing/Knight Of The Woeful Countenance” 84 – 86 (start at beginning and end bar before B)  


CAPTAIN OF THE INQUISTION:

To read
: pg.1-2
To Sing
: 16-32 bars of a song of your choice. Legit standard broadway…not pop or contemporary broadway.  


ANTONIA
:
To Read
: Scene for Antonia, Padre, Carrasco and Housekeeper Pages: 28-29
To Sing
: “Only Thinking” soprano (solid high F mix) pages 44 & 45 (start pickup to letter G and end 4 bars after letter I ). 
Antonia should sing all the lyrics, and both sets of “Woe….oh”

Jeff Rizzo (our MD) would like Antonia’s “Woe….oh” on the second page to have a very forward placement. Basically a mix, as it’s too high to full on belt.
It should be on pitch, but unpleasant. Think Idna Menzel at the end of Defying Gravity.


PADRE:
To Read
: Scene for Antonia, Padre, Carrasco and Housekeeper Pages: 28-29
To Sing
:
1) “To Each His Dulcinea” Lyric Tenor. Pages 72 – 74 (start pickup to letter E to end) 2) “Only Thinking” pages 45 & 46 (start last 4 bars of pg 45 to end)  


DR. CARRASCO:

To read
: Carrasco (Knight of Mirrors) Pages 74-75 Scene for Antonia, Padre, Carrasco and Housekeeper Pages: 28-29  
To Sing
: “Only Thinking reprise” Baritone. Pages 47 & 48.
Please sing entire song, without the 1st ending    



HOUSEKEEPER:
To read
: Scene for Antonia, Padre, Carrasco and Housekeeper Pages: 28-29  
To Sing
: “Only Thinking” character soprano (high F) pages 44 & 45
(start pickup to letter G and end 4 bars after letter I) 
Housekeeper should sing all the lyrics, and both sets of “Woe….oh”

  


BARBER:
To Read
: Pages 43-44  
To Sing
: “Barber’s Song” (character baritone) pages 61 & 62
(entire song, without the repeat)  



MARIA:

To Read
: Pages 56-57  
To Sing: “Finale” (belt/alto) pages 139 & 140 
(start pickup to letter B to end sing appropriate line)    


MULETEERS:

No Sides.

We will be looking at the character work/choices in the song.  
To Sing:

“Finale” (Tenors (head voice B) and Baritones) Pages 139 & 140
(start pickup to letter B to end sing appropriate line) 
NEW SECTION FROM YESTERDAY: Page 100 - letter B the first 4 bars then page 101 the last 4 bars on that page.
 

MOOR SOLOIST (character Tenor
):
No sides. We will be looking at the character work/choices in the song.  
To Sing: Moorish Dance page 103 (start letter G. 4 bars only) 
*THIS IS NOT FOR THE FEMALE MOORISH DANCER*  


ANSELMO: (BARI-TENOR)
No sides.
We will be looking at the character work/choices in the song.  
To Sing
: “Little Bird” pages 57 – 59
(start last bar on page and end bar before C)  


FERMINA AND MOORISH DANCER
:
No sides.
We will be looking at the character work/choices in the song.  
To Sing: “Finale”. Pages 139 & 140
(start pickup to letter B to end sing appropriate line)    


DANCE/MOVEMENT AUDITION 411:

* MEN: Please bring hard soled shoes as well a your sneakers.

* Please bring dance shoes and wear tight fitting body conscious clothing.
* You will dance/move first. Afterwards, we will invite those who are a fit to stay to sing and read.



VIDEO AUDITION 411:

* All videos must be emailed to info@Florescasting.com before 3/21.

* ALL ACTORS MUST BE LOCAL LA HIRES. There is no housing or travel.

* We may need to see you in person at some point in the casting process.
* Please notify casting if this is an issue BEFORE you submit your video.
* Look over all details above (contract, dates, etc.) before submitting a video.
* Please email videos using the following services: Youtube, Dropbox, Vimeo.

* YOU MUST email your picture and resume along with your video link. Please do not make us have to email you for this...

* We will only accept videos with the requested audition material. Please read the scenes and/or sing the requested songs with accompaniment or music track.

* Any dance reels you have should also be sent.
* Email info@Florescasting with any additional questions.

CHARACTER BREAKDOWN:

NOTE:
* Cast must be available for both the VPAC and La Mirada dates.
* Muleteers an all principal roles (Barber, Maria, Fermina, etc.) double as prisoners and/or gypsies.
* Open to all ethiniciies and physical types. 

* “Man of La Mancha” is set in a rough and ruthless world, so character types are encouraged to audition.  

Don Quixote (Cervantes): L ate 40-50's. An actor, playwright, and would-be knight. He is a romantic—some sane crazy—and has a vision of a far better and nobler world, where knights and chivalry rule the day. He plays Cervantes and a gentle man who thinks he is a night errant.  High lyric baritone (E)  

Sancho (also The Manservant): 30-50. Cervantes’ man servant. Sancho is short and squat. He has served Quixote/Cervantes for many years and is devoted to him, even with all his idiosyncrasies. Warm and funny.Tenor (high G)  

Captain of the Inquisition: 40-55. An imposing and cruel man. In charge of the prison. Singer a plus.  

The Innkeeper 
(also The Governor): 40's A large and powerful man. He is kind as the Innkeeper, a gentle giant, but as the Governor he is the leader of the inmate society in the prison. Bass baritone (low A)   

Dr. Carrasco (also The Duke):
 30's As the character of the Duke he is the sidekick to the Governor; however, as Dr. Carrasco, he is Antonia's fiancé. A scientist who thinks Don Quixote is mad and insists that he come home and be treated for his malady. Baritone  

The Padre
 40-50 A kind loving man.  He understands Quixote.  He travels with Carrasco.  As a prisoner who has lost his mind. Lyric tenor.  

Antonia: 
20’s. Quixote's niece and Dr. Carrasco's fiancée. Sweet and very concerned about her uncle. She is controlled by Carrasco. Soprano, with a solid high F mix. DANCER/MOVER.

The Housekeeper
  40-50 Runs the house and has a secret affection for Quixote.  Very dedicated. Character soprano (high F). MOVER A PLUS.

The Barber: 30-40’s . Funny. He travels the countryside and peddles shaves. He is known by everyone. Character baritone  

Pedro:
 30's The head muleteer, Pedro is a mean and vicious man, leading an attack on Aldonza.  

Maria:
 35-40’s. The Innkeeper's tough no nonsense wife. MOVER A PLUS.

Fermina:
 20’s. A servant girl.  Dancer. Provocative jazz/rhythmic dance in the style of Jack Cole. Contortionist and tumbling a plus. Belt (high D).    

Muleteers: 25-30’s.
Strong, masculine highwaymen. Men of size and stature. They are murderers, rapist and thieves who await their death in prison. All must be able to dance well and sing. Athletic, jazz/rhythmic dance in the style of Jack Cole.  

Moorish Girl/Flamenco Dancer
: 30-early 40’s. She has some age on her and has lived life. Dancer with knowledge of the Flamenco style. Must also sing. Provocative jazz/rhythmic dance in the style of Jack Cole. Contortionist and tumbling a plus.