THE AUDITION PROCESS

General Audition and Dance Call

Auditions for the cast are open to any student of Ringwood Secondary College in 2019.

 The cast size is capped according to the dimensions of the stage, costuming and administration requirements. Therefore, the audition process is competitive. Auditions are conducted individually and in front of a panel of production team members as appointed by the director. Casting decisions are entirely at the discretion of the production team and are made in accordance with the specific requirements of the show.

 Students must select and prepare one song from the list below. For each song, the sheet music and backing track excerpt to be used in the audition can be found on the AUDITIONS page of the production website sometime after Tuesday January 29, 2019. (Keep checking back – it might take a while to compile. A Facebook notification will go out when it is ready.)

 Students will also be asked to complete a ‘cold read’ of some dialogue from the show. You will be asked to read the dialogue in an appropriate European accent.

In addition,​ students will be asked to tell a joke to the audition panel! Please make sure it shows off your comedy style and is appropriate for a school context.

 Students must sign up for a general audition slot on one of the following afternoons:

Tuesday February 13 between 3.30pm and 7pm
Wednesday February 14 between 3.30pm and 7pm


Signing up is an online process and must be completed through the website:

www.rscproduction.com.au/auditions.html

 This link will be available for use from Tuesday January 29, 2019.

 ****In addition to the general audition, there will be a compulsory dance call on Thursday February 14 from 3.30pm until 5.30pm. SPAMALOT is a heavy dance show and all prospective leads, principal dancers and ensemble members MUST attend. Please note that anyone who attends the dance call only, without signing up for a main audition (or vice versa), cannot be considered for a position in the cast.
You MUST attend a general audition on either Tuesday or Wednesday.

CASTING REQUIREMENTS – SPAMALOT

 

Spamalot musical is a show with a stunning array of lead roles, cameos, acting roles, dance parts and terrific ensemble participation. Prospective auditionees are expected to do some research into the show, its characters and potential interpretations. There will be a pre-audition info session on Tuesday February 6 where new and returning students can have all their questions answered.

 

The Production Team encourages everyone to relax and do their absolute best in the audition. However, they are also on the lookout for candidates who can demonstrate that they have considered possible interpretations of character and song.

 

Principal Character Breakdown

KING ARTHUR: The King of England who sets out on a quest to form the Knights of the Roundtable and find the Holy Grail. This role requires an actor with a great sense of humour and comic timing. Good singer.

THE LADY OF THE LAKE: A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers.

SIR ROBIN: A Knight of the Roundtable. Ironically called ‘Sir Robin the Brave,’ though he couldn’t be more cowardly. Joins the Knights for the singing and dancing.

SIR LANCELOT aka LANCE: A Knight of the Roundtable. He is fearless to a bloody fault, but through a twist of fate, does discover his ‘softer side. 

PATSY: King Arthur’s horse and servant. Underappreciated but always longing for King Arthur’s approval. Good, funny, physical mover with some tap dancing required.

SIR GALAHAD: A Knight of the Roundtable. Begins as Dennis, a lower class ‘mud gatherer’ who becomes knighted and transforms into the dashing Sir Galahad. Strong bari/tenor singing required.

SIR BEDEVERE: A Knight of the Roundtable. An inept scholar. No solo singing.

HISTORIAN: A tweedy academic who guides us through he show. He or she must have excellent diction.

NOT DEAD FRED: A sickly little fellow who, despite others’ beliefs, claims he is “not yet dead.”

PRINCE HERBERT: The hopeful and frilly prince who loves to sing, and pines for his love atop a tower.

THE VOICE OF GOD: He or she must be commanding and strong.

ENSEMBLE: In the ensemble/chorus there are many opportunities for cameo roles that require strong actors and dancers. These include:

MAYOR and FINLAND VILLAGERS

SINGING MONKS

DENNIS GALAHAD’S MOTHER: a shrill peasant woman

THE DANCING MONK

THE DANCING NUN

THE FRENCH TAUNTER: an arrogant, condescending, over-the-top Frenchman

TWO FRENCH GUARDS: also arrogant, condescending, over-the-top Frenchman

ROBIN’S MINSTRELS: In Sir Robin’s band

THE KNIGHT OF NI: an absurd, cartoonish leader of a peculiar group of Knights

THE KNIGHTS OF NI: usually played by female actors

THE BLACK KNIGHT: who is always ready to duel despite multiple injuries.

PRINCE HERBERT’S FATHER: a wealthy, brutish Yorkshireman at odds with his sensitive son

GUARD 1: The lead guard 

GUARD 2: A drunken, useless guard

CONCORDE: Sir Lancelot’s horse and servant

TIM THE ENCHANTER: a ghostly being with a Scottish accent.

SIR BORS: a knight who will confront the killer rabbit