Audition List April 2003

 

NEW AUDITIONEES

If you are auditioning for NYT and you are not a current member, please find a piece for yourself that is not on this list, either dramatic monologue from a play, a song or a dance.

Current members remember: You must choose one from the list and get your name against it. No doubles. We want variety!
If you want to offer a suggestion then please do so, but get it approved by Steve or myself first.
Any music accompaniment must be arranged well ahead of time and you need to rehearse with it.
It goes without saying that your pieces must be thoroughly thought through, learnt and polished.


E.mail your claim or request to agc@collegest.org. uk

Title of Piece
Likely
Gender
Activity
Member Name
 
 A Foggy Day
M or F
Singing
Alex S.
Mellow rendering exploiting Alex's vocal range. Needs to work up a set of these classics if she is going to develop the Ella Fitzgerald range.
 Show Me from MFL
F
Singing
Siobhan K.
Pitching awry at times, but v.good creation of the frustration of the character- brought the song to life.
Mr Cellophane from Chicago
M
Singing
Adam B.
Confident, tuneful and well-characterised and paced performance. One might quibble with Adam's routine as that's what it ended up looking like, but a good choice of song positively delivered. Some attention needs to be given to eye contact and audience engagement.
Contemporary Dance to anything by Enya
M or F
Dancing
Wendy D.
However, whilst Adam's needs to be in-your-face and thus making a contact with the audience, this was serene in its detachment. Wendy created some truly elegant figures as well as sophisticated transitions between motifs. Helped by the music but pulled the commission off very well.
Puck's Epilogue from Sh.:MND "Now...."
M or F
Acting
Gareth M.
Voice maturing nicely, well-projected, but somewhat rushed and needed to engage with the audience more directly. Sense of a speech rather than a character
Stepdaughter from Pirandello:Six Characters in Search of an Author " Wait! Wait! First of all the little girl has to go......"
F
Acting
Francesca M.
Much more sensitive performance than seen to date from Francesca. more multi-faceted, shifting across the planes of this dificult play. She knew it, moved it and made sense of it. But awkward on the gestures, with hand in the pocket at one point when the voice was saying something quite different.

Mrs Sullen from Farquhar:The Beaux Stratagem "Country Pleasures!...."

F
Acting
Elena C.
As with Gareth, voice used well, but lacked some of the colour and "sullenness". She's having a gossipy miserable moan about everything and funnily too. Needed more work looked a bit in the headlights.
1st,2nd,3rd & 4th Woman (as one) from Thomas:Under Milk Wood "Mrs Ogmore-Pritchard -la di da-got a man.....playing the organ."
F
Acting
Charlotte L.
Not smutty or gossippy enough by far, Thomas loved the chat and uses this throughout the play. More to exploit there, but a very strong presence and Charlotte made us sit up and take note with some powerful vocal control, now needs to think about how that matches the physicality- what we see.
from Beckett:Act Without Words "The man is flung backwards...
M or F
Acting
Abi M.
Detailedl precision, (remember the nail scissors?) Good use of eyes. Captured the physicality and almost clowning of the piece well. Whilst it is supposed to be manic, some greater variety in the pace might have helped.
Trinculo from Sh.:The Tempest "Here's neither bush nor shrub, to bear off any weather...."
M
Acting
Lois F.
More direction needed here to ensure Lois uses her natural sense of fun to get the most laughs out of this ridiculous and pathetic role.There's a storm and tempest raging around him and he keeps getting wet - poor thing! Eyes were all over the place - she must control that.
Nina from Chekhov:The Seagull "Why do you say you kiss the ground I walk on?...."
F
Acting
Sophie C.
Very well-controlled performance of this somewhat skittish woman, physically and vocally. Disturbing at times-brought Chekhov's brand of naturalism to life. Thoroughly prepared.
Cleopatra from Dryden:All For Love "Yet may I speak?..."
F
Acting
Viant S.
Yes you may speak! and clearly too! Viant gave some power to this different view of Cleopatra. A v. good sense of the phrasing and verse with a clear indication for the audience of where the focus was. A little more thought to the gestures to ensure that what we see matches what we hear.
MacHeath from Gay:The Beggar's Opera "I must have women!...
M
Acting
Amit K.
Amit's own adaptation! Caught the physical and vocal swagger of MacHeath, the character was in safe hands, but unfortunately so was the script which restricted the performance.
Cyrano from Rostand:Cyrano de Bergerac "Take notice, boobies all,...
M
Acting
Frankie J.
Completely understood what the situation was, ie this speech parallel's the main plot: Cyrano writes letters to Roxanne on behalf of another, but loves her himself. Here he proves he is better at insulting himself than any other. Sense of the pace, but rushed at times and the list of insults could have been indilged in more for the audience.
Get Here
M or F
Singing
Charlotte B.
Rich tones from this self-accompanied piece. Emotional delivery without being sentimental or adding all that unnecessary ornamentation. Engrossed in the story she was telling us she was oblivious to the massed bands passing the window and kept us focused on the song. An accomplished piece.
Trofimov from Chekhov:The Cherry Orchard "Humanity progresses, perfecting its powers.....
M
Acting
Daniel B.
It was a good day for Chekhov! Here Daniel captured the pontificating Trofimov criticising exactly what he himself spends most of his life doing. Assured performance good presence.
         
Rosalind's epilogue from Sh.:AYLI "It is not the fashion..."
F
Acting
Cassie B.
Cocky epilogue from a character that has spent most of the play impersonating a man and Cassie showed us that in the postures she struck. Caught the 'simpering' men right on cue! Sometimes rushed a little and lost the sense.
Phebe from Sh.:AYLI "Think not I love him...
F
Acting
Amy A-P
Good attempt at a rustic accent and captured the country simpleton- she is of course talking about having fallen in love with the Rosalind, the character Cassie played, so there is much more fun to get out of her.She's easily led and fickle, a quaint figure of fun in the play.
Cornelia from Williams:Something Unspoken "(into phone) Are you upstairs now, dear?...."
F
Acting
Bridie H.
Good attempt at the accent- nicely dismissive of the Civil Rights reference - Cornelia's only interested in her own rights. Bridie dribbled in the bitchy sarcasm, making us realise that what she was actually saying was less important than the way in which it is said. The door opening broke her concentration,and the end was rushed a little, which was a pity, as she was going so well.
Inez from Sartre:No Exit "To forget about the others?..."
F
Acting
Lydia C.
Beatifully controlled and mature performance, using a wide vocal range and capturing the dynamics of the speech well. Could easily have descended into a banshee wail, but Lydia made us feel that we were in safe hands. Good trick!
Shen Te from Brecht:Good Person of Setzuan "I've had a frightful experience....."
F
Acting
Grace L.C.
Sprinkled the German text across the piece with no loss to sense, because Grace set up the intentions well. If anything it helped to lift thisvery ordinary character into the extraordinary - sound Brechtian technique. Could have been slower at times and one or two ends of sentences were thrown away. You have to be careful with Brecht - the sting is often in the tail of the line.
Klondike from Armitage:Eclipse
M
Acting
Mirza M.
Painted the images well and achieved the shift in sense, purpose and intention. Mirza used a laconic physical style to match the vocal delivery. Another to beware of rushing though. The audience always eed time to make the images in their minds that the actor conjures on stage.
Goneril from Sh.:Lear "This admiration, sir, is much o' the favour..."
F
Acting
Charelle G.
She would have preferred to dance but had a go at this anyway. A bit rushed and needs some more direction in the cold dismissal of her father as a roistering oaf. There was a sense of the character, but at times the verse descended into recitation.
Ophelia from Sh.:Ham "They bore him bare faced on the bier...." (ignore Laertes' speeches)
F
Acting
Kelly T.
Rather too static for someone who's just lost her marbles in a pile of weeds! Kelly made her look frail and she is, but she also needs to upset us, the audience, as her descent into madness is as tragic as Hamlet's fall, and thus we must feel that srange combination of fear and pity that is called catharsis when we see her in extremis here.
Iago from Sh.:Oth "And what's he, then, that says I play the villain?..."
M
Acting
Stefen W.
 Not quite ready and loads better in sense when Stefen had the comfy blanket of the text to hand. "fruitless as the free" he got round well and once free of the shackles of memory, his physicality exapanded into the role also. Security of the text has to be the first priority.
 
A Dance
F
Dancing
Leanne T.
 Almost the 'soundtrack of noises' for accompaniment, but Leanne worked with no significant beat in this contemporary piece. Lost it on the way through which was a pity given the development and control she had already exhibited. So very good as far as it got.
Rainy Days & Mondays
M or F
Singing
Rebecca S.
Good song, well sung with a well annunciated lyric and within Rebecca's range.Static physicalisation below the waist and eyes still betraying an unnecessary lack of confidence in her ability to engage with an audience.
Ain't No Sunshine
M or F
Singing
Stephen H.
Strong singing, clear tuneful voice, lost the words somewhere, but recovered well with no loss in pitch. Stephen needs to think about his physical presence whilst singing so that the communication is complete.
Sylv from Berkoff:East
F
Acting
Rachel K.
This was Rachel's exam piece and the raw Estuary English came as a shock to the audience. At times too fast and some became unintelligible. Berkoff works language well, effortlessly, but that does not mean that we can present it so. There was a charcteristic physical tension apparent, but this could have been further exaggerated -SB is a firm believer in Artaud's maxim of the "Actor as Athlete"
Katherine from Sh.:Shrew "Fie, fie! unknit that threat'ning unkind brow..."
F
Acting
Rebecca W.
 An interesting voice and handled the listing well with some colour and shifting dynamic in inflexions. There was an odd approach to eye contact and Rebecca didn't fix the rest of the room before she started.
Minister from A Clockwork Orange
M
Acting
James J.
 Knew the piece and was using vocal skill better than he has in the past, but james fell prey to the common fault of rushing and thus flattening the speech. Pity, because he used his 'other' well ensuring that his focus was always with us, but also letting us know to whom he was referring and the sense was coming through.
Part of the World from The Little Mermaid
F
Singing
Christine T.
Christine allowed something to distract her so that she knew she was going to forget the one line. You can kick yourself all you want but never let the audience know that you were feeling so insecure about singing the song.
Timon from Sh.:Timon of Athens
M
Acting
Tom H.
Resonant vocal delivery with impressive power - Tom at his full-chested best. Need to milk some more of the references to money, which has been his downfall and attach a little more of the futility of his gesture of withdrawal from situations he doesn't like, but appropriately bombastic.
Queen Margaret from Sh.:HVIPt.3 "Brave warriors, Clifford and Northumberland...."
F
Acting
Natalie M.
 
Nathaniel Jeffcote from Houghton:Hindle Wakes "So thou thinks it easy for me to see thee wed Fanny...."
M
Acting
Andrew C.
 
Walk On By
M or F
Singing
Kate B.
 
Antigone from Sophocles:Antigone "Tomb, my bridal chamber, eternal prison in the caverned rock..."
F
Acting
Heather M.
 
Helena from Sh.:AWTEW "Till I have no wife, I have nothing in France. Nothing in France until he has no wife!..."
F
Acting
Sarah T.
 
Chorus from Sh.:HV "O for a Muse of fire, that would ascend..."
M or F
Acting
Chris N.
 
Ford from Sh.:MWoW "What a damned Epicurean rascal is this!....."
M
Acting
Peter H.
 
You ain't never had a friend like me from Aladdin
?
Singing
Lizzie B.
 
Mrs Page from Sh.:MWW "What! have I 'scaped love-letters in the holiday time of my beauty...."
F
Acting
Leanne B.
 
 
Satine from Gorky:The Lower Depths "Shut up, you brutes, you numbskulls! That's enough about the old man!....
M
Acting
Kyle E.
 
Mrs Madigan from O'Casey:Juno and the Paycock "Ah, me voice is too husky now....
F
Acting
Nicola O.
 
Miranda from Sherwood:There Shall Be No Night "(Reading letter) In this time of our own grief...."
F
Acting
 
Anna from Barnes:Yesterday's News(Barnes People) "Young man, if lobsters...."
F
Acting
 
Medea from Euripides:Medea "O my babes, my babes, you have still a city and a home....."
F
Acting
 
Garry from Coward:Present Laughter "I don't give a hoot about posterity..."
M
Acting
 
Solange from Genet:The Maids "At last! Madame is dead!...."
M or F
Acting
 
Lenny from Pinter:The Homecoming "Barefaced audacity.(Pause).....
M
Acting
 
Wesley from Shepard:Curse of the Starving Class "(throwing wood into wheelbarrow) I was lying there on my back.....
M
Acting
 
Vivaldi from Taylor:Daughters of Venice "Listen child!...You know nothing,..."
M
Acting
 
Adriana from Sh.:Cof E "May it please your grace, Antipholus, my husband,-..."
F
Acting
 
Urban Spaceman (Bonzo Dog Doo Dah Band)
M or F
Singing
 
Embraceable You
M or F
Singing
 
Morning has Broken
M or F
Singing
 
Black Magic
M or F
Singing
 
Jeepers Creepers
M or F
Singing
 
A Narrative Folk Song (no more than 5 verses!)
M or F
Singing
 
I Hate Men from Kiss Me Kate
F
Singing
 
A physical theatre piece on Exam Revision using a soundtrack of noises inc. those created physically.
M or F
Dancing
 
Christy from Synge:The Playboy of the Western World "Half a hundred beyond. Ten there....
M
Acting
 
First Voice from Thomas:Under Milk Wood "And the shrill girls giggle...."
M or F
Acting
 
 
Ma Ubu from Jarry:Ubu Rex "Now where can the treasure be...."
F
Acting
 
Mrs Warren from Shaw:Mrs Warren's Profession "No you don't, I do. She called herself a widow and had a fried-fish shop...."
F
Acting
 
Old Man from Strindberg:The Ghost Sonata "About the weather, which we know? Ask after each other's health?...."
M
Acting
 
Miss Julie from Strindberg:Miss Julie "Listen, I've just had an idea......Back here -or somewhere."(ignore Christine's hmmm)
F
Acting
 
Jean from Strindberg:Miss Julie "Yes, if you like it was absurd....and play with the Count's daughter" (ignore Miss Julie's line)
M
Acting
 
Grace from Williams:Something Unspoken "You say there's something unspoken. Maybe there is....."
F
Acting
 
Lady Britomart from Shaw:Major Barbara "I said nine. Ring the bell please...."
F
Acting
 
Call Me Irresponsible from Papa's Delicate Condition
M or F
Singing
 
Come Fly With Me
M or F
Singing
 
High Hopes from Hole in the Head
M or F
Singing
 
You Do Something To Me
M or F
Singing
 
Someone to Watch Over me
M or F
Singing
 
 
Derek from O'Malley:Once a Catholic "Yeah, well, that's what I stick down if I have to fill up a form...."
M
Acting
 
Prince of Morocco from Sh.:MoV "Mislike me not for my complexion,..."
M
Acting
 
I Can't Give You Anything But Love
M or F
Singing
 
Willy Loman from Miller:Death of a Salesman "Oh, yeah, my father lived many years in Alaska...."
M
Acting
 
King Henry from Sh:HV "How yet resolves the governor of the town?....
M
Acting
 
I Only Have Eyes For You
M or F
Singing
 
These Foolish Things
M or F
Singing
 
I Get A Kick Out Of You
M or F
Singing
 
One For My Baby (and one more for the road)
M or F
Singing
 
Dance to Mr Bojangles of Harlem (Astaire)
M or F
Dancing
 
 
Love Me Or Leave Me
M or F
Singing
 
A dance based on the story of Lot's Wife
M or F
Dancing
 
Dance of the Summer Sales
M or F
Dancing
 
A dance to Roxy Music:Dance Away
M or F
Dancing
 
King (HV) from Sh.:HIVPt.2 "I know thee not, old man: fall to thy prayers;..."
M
Acting
 
Sasha from Chekhov:Ivanov "There are lots of things men don't understand....."
F
Acting
 
Dance piece to any piece of music by Philip Glass
M or F
Dancing
 
Dance piece with no accompaniment at all -"The Sound of Silence"
M or F
Dancing
 
Dance piece based on the accompaniment of counting from 1 to 10 in any language other than English
M or F
Dancing
 
The First Cut is the Deepest
M or F
Singing
 
Stormy Weather
M or F
Singing
 
Bridge over Troubled Water
M or F
Singing
 
Will You Still Love Me Tomorrow?
M or F
Singing
 
The Very Thought Of You
M or F
Singing
 
The Way You Look Tonight
M or F
Singing
 
Killing Me Softly With His (Her) Song
M or F
Singing
 
Sloane from Orton:Entertaining Mr Sloane "I trust you, Pop. Listen....."
M (or F?)
Acting
 
Misty
M or F
Singing
 
I Love Paris
M or F
Singing
 
Spanish Harlem
M or F
Singing
 
On Broadway
M or F
Singing
 
I (Who Have Nothing)
M or F
Singing
 
(They Long To Be) Close To You
M or F
Singing
 
Alfie
M or F
Singing
 
(There's) Always Something There To Remind Me
M or F
Singing
 
Do You Know The Way To San Jose?
M or F
Singing
 
I Say A Little Prayer
M or F
Singing
 
I'll Never Fall In Love Again
M or F
Singing
 
 
Magic Moments
M or F
Singing
 
Raindrops Keep Falling On My Head
M or F
Singing
 
This Guy(Girl)'s In Love With You
M or F
Singing
 
Trains And Boats and Planes
M or F
Singing
 
Wishin' and Hopin'
M or F
Singing
 
Have I Told You Lately That I Love You?
M or F
Singing
 
The Look Of Love
M or F
Singing