Auditions and Tech Interviews
When: Tuesday, December 17th
Time: 2:30 pm - 4:30 pm
Where: Black Box Theatre
Just a reminder that we have talked with choir and all Chamber conflicts have been addressed!
Fill out form below and include all conflicts! Also fill out audition and tech interview form so we can get a headcount and plan the audition.
Below are four (gender specific) monologues and multiple sides from the show. Please select and MEMORIZE one of the monologues provided for the initial audition held on Monday, December 16.
You will need to print out tech form, fill out and bring form with you to interview. Please fill out all conflicts as that will be a big determinate of choosing our technicians. We are looking for:
Please fill out audition and tech interview form below so we can get a headcount and plan the audition.
Monologues for Audition
DR. KATHERINE BRANDT’S MONOLOGUE
(This monologue lands about mid-way through the show. Dr. Brandt’s condition has worsened while in Vienna studying The Variations. She has begun to alter her position on Beethoven’s purpose in working on the variations. She contemplates to the audience.)
Transfiguration is an interesting idea. Not the Christian idea of Jesus on the mountain and His Face changing. No. Not that transfiguration.
But the IDEA of transfiguration. Transforming one thing into something better. Moving from the banal to the exalted.
What if Beethoven is transfiguring Diabelli’s waltz? If that is the case, the large set of variations is not an exercise in making something out of nothing as I had previously thought. But instead, a study in transfiguring the waltz into it’s better self. But not all things transfigure into their better selves. No.
My motor neurons are deteriorating rapidly, every day my muscles are receiving fewer and fewer signals from my brain, so they are atrophying. The best part of this is that my brain remains untouched by the illness, so that I am able to fully experience the process by which my body is becoming but a flaccid carcass.
CLARA BRANDT’S MONOLOGUE
(Part of this “Monologue” are pieces of lines pulled from scenes. Clara is at a breaking point. She has just received some very shocking news, concerning her mother and how she wishes to die. This is compounded by the discovery that she has, intentionally, been left out of these decisions by her mother.)
I can’t believe this! You couldn’t tell me this?! You had to tell Gertie? Who will administer the morphine? Should I come to the hospital? What happens if after you can’t communicate you change your mind and you want to go on living? Very well then, you’ve figured all of it out. Good for you mom
(Beat when Katherine interrupts.)
A SCENE? Who has cooked your dinner every night? Who has cleaned your clothes - cleaned you? Who has made it possible for you to spend all these months here to work on your precious monograph?
I’m good enough for all that, but not for the big decisions?
I finally see how you see me, Mom. And it’s horrible.
(Anton Diabelli is an owner in a publishing firm in Vienna. Slightly desperate for material that his publishing firm can sell, he composes a waltz and requests other composers create variations from it. In this monologue we see why Beethoven’s Variations exist in the first place.)
An invitation! To the fifty GREATEST composers in Vienna.
My dear Musicians, I am enclosing in this letter a new waltz of my own making. I composed it but a few days ago, and I wish to invite each of you to compose one variation on my theme. Once I receive your variations, I will publish them all in one handsome volume that I promise will be a beautiful and popular book. I hope you will find in my waltz a worthy and inspiring theme. And of course, I will compensate each of you for the variations that you contribute.
I eagerly await your reply.
Yours sincerely, Anton Diabelli
Of the firm Diabelli, Cappi and Company.
(Dr. Katherine Brandt’s condition has worsened considerably and all those in present day have gone through a scare getting her into the hospital. As she is being sent into the MRI machine she hallucinates and meets Beethoven in limbo.Beethoven acts as a friend and counsels her.)
It took me 25 years to go deaf. One day my hearing would be bad, and I would be terrified of going completely deaf. The next day it would improve. And my hoe would return. And then it would get worse again. This back-and-forth between hope and despair was unbearable. And then- I became completely deaf. All hope was gone. And I was so…
Relieved! I would never hope again. Hoping the the great curse. And lo and behold, I was able to create music that would have never been in the world of the hearing. The thing I’d feared most had happened and yet it allowed me to be with my music in the most intimate of ways.
Dr. Brandt, it’s time. It’s time to stop struggling.